ILLUSTRATE  D CATALOGUE 
OF  ETCHINGS  & ENGRAVINGS 
#$r..  PUBLISHED  '.Wi 

FREDERICK  KEPPEL  & : GO. 
4 EAST  39th  STREET,  NEW  YORK 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/illustratedcatal00fred_0 


ILLUSTRATED  CATALOGUE 
OF  ETCHINGS  & ENGRAVINGS 
m PUBLISHED  BY  m 

FREDERICK  KEPPEL  & CO. 
4 EAST  39th  STREET,  NEW  YORK 


THE  J.  PAUL  G£l  i v C£J 

LIBRARY 


NOTE 


ALL  of  the  etchings  and  engravings  described  in  this  catalogue  (un- 
Jt jL  less  otherwise  designated)  are  onr  own  exclusive  publications 

Our  aim  always  has  been  to  issue  works  which  appeal  rather  to 
people  of  real  culture  than  to  the  larger  and  less  critical  public.  In 
consequence  we  issue  very  limited  editions  of  these  works,  and  in 
many  cases  we  take  the  further  precaution  of  destroying  the  cop- 
per plates  so  as  to  prevent  the  possibility  of  subsequent  printing 
from  them,  thus  insuring  the  rarity  and  permanent  value  of  the 
original  edition. 

This  catalogue  mentions  only  a small  part  of  our  general  stock. 
For  many  years  our  specialty  has  been  high  class  and  rare  prints. 
Many  of  these  we  cannot  duplicate.  We  shall  issue,  therefore,  from 
time  to  time  a supplement— The  Print  Collector’s  Bulletin  — 
in  which  will  be  listed  the  etchings  we  can  then  supply  by  such  mod- 
ern masters  as  Bracquemond,  Buhot,  Corot,  Daubigny,  Gravesande, 
Haden,  Jacque,  Jacquemart,  Lalanne,  Legros,  MacLaughlan,  Mer- 
yon,  Millet,  Palmer,  Pennell,  Whistler,  and  Zorn. 

The  Print  Collector’s  Bulletin  will  be  sent  post-paid  to  any 
address  upon  application  to  the  publishers,  and  correspondence  is 
invited  concerning  the  etchings  mentioned  therein. 


NOTE  ON  THE  ILLUSTRATIONS 

The  number  on  each  refers  to  the  corresponding  number  in  the 
printed  catalogue. 

Owing  to  the  limitations  of  the  process  employed,  these  illustra- 
tions are  not  on  the  same  scale  of  reduction,  but  the  exact  measure- 
ment, in  inches,  of  each  original  (exclusive  of  its  margin)  will  be 
found  in  the  descriptive  text. 

Estimates  for  suitable  framing  will  be  furnished  on  application. 


M B.  — This  Catalogue  will  be  mailed  to  any  address  on  receipt  of 
five  tivo-cent  postage  stamps. 


CATALOGUE 


Note.  The  dimensions  are  given  in  inches  and  without  margin.  Except 
when  otherwise  specified,  all  the  following  works  are  original  etchings. 


ALASONIERE  (FABIEN) 

Born  at  Amboise,  studied  painting  with  Jean-Paul  Laurens  and  etching  with 
Lalanne  and  Desboutin.  One  of  the  best  known  of  contemporary  etchers. 


1 LES  FIANCES 

After  the  painting  by  Yan  Dyck.  Prince  William  II.  of  Orange  (Holland) 
and  Princess  Henrietta  Maria  of  England,  daughter  of  King  Charles  I. 

They  were  betrothed  at  the  age  of  15  and  14  respectively— when  Yan  Dyck 
painted  their  portraits — and  were  married  six  years  later. 


Their  son  was  King  William  III.  of  England. 

Height  14,  width  11 

Eemarque  proofs  on  vellum $18 

Signed  artist’s  proofs  on  Japan  paper 9 


APPIAN  (ADOLPHE) 

Pupil  of  Corot  and  Daubigny. 

“My  admiration  for  Appian’s  work  as  an  etcher  (he  is  a charming  painter 
also)  was  already  great  several  years  ago,  but  the  more  I see  how  rare  his 
qualities  are  in  contemporary  art,  or  in  any  art,  the  more  I feel  disposed  to 
value  them.  Philip  Gilbert  Hamerton,  Etching  and  Etchers,  p.  202. 

Note.  In  addition  to  plates  Nos.  2-13  we  have  in  our  present  stock  a num- 
ber of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and  of 
prices  will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed, 
free,  on  request.  (See  page  3.) 


2 UNE  MARE 

‘ 1 This  has  always  seemed  to  me  the  most  exquisite  piece  of  free  branch  and 
stem  drawing  in  the  whole  range  of  French  etching.  It  is  this,  and  much  more 
than  this;  for  not  only  are  the  trees  full  of  an  inexpressible  waywardness  and 
grace,  but  the  whole  work — the  bit  of  rocky  bank,  the  little  inlet  of  calm  water, 
the  sweet  distance,  and  the  delicate  sky— all  this  material  forms  a perfect  har- 

5 


mony,  presented  to  us  with  the  true  passion  of  a tender  and  sensitive  artist. 
No  one  but  an  artist  can  know  how  much  this  little  place  must  have  been  loved 
before  it  could  be  etched  so.  Philip  Gilbert  Hamerton,  Etching  and  Etch- 
ers, p.  206. 

Height  914,  width  6% 

Impressions  on  India  paper,  without  title $6 

(See  Illustration) 


3  AYANT  LA  PLUIE 

A fine  realization  of  the  effect  in  landscape  when  the  rain  is  about  to  fall. 
Height  4%,  width  8% 

I mpressions  on  India  paper,  without  title $3 


4  UNE  MORI  A A BORDIQUIER 

Italian  landscape  with  a well. 

Height  8,  width  11^4 

Impressions  on  India  paper,  without  title $3 


5  CANAL  AT  MARTIGUES 


Height  4y2,  width  8 
Impressions  on  vellum,  without  title. 


$3 


6  A SUMMER  DAY 

Beautiful  and  delicately  etched  landscape,  with  the  figures  of  a woman 

and  a dog. 

Height  4%,  width  8% 

Impressions  on  India  paper,  without  title $3 

(See  Illustration) 


7  FISHERMEN’S  HUTS 

Height  41/2,  width  8 

Impressions  on  Holland  paper,  without  title $2 


8  UN  SOUVENIR 

“ Easily  recognized  by  a windmill  in  the  middle.  To  the  right  of  this  there  is 
a sailing-boat,  to  the  left  another  windmill.  On  a rocky  bank  to  the  right  is  a 
building  with  a low  tower,  like  a remnant  of  feudal  times.  All  this  material  is 
reflected  in  calm  water.  . . . The  sky  is  shaded  in  fine  taste  . . . the  effect 
is  good.  ’ ’ — Philip  Gilbert  Hamerton,  Etching  and  Etchers,  p.  205. 

Height  5,  width  9% 

Impressions  on  Japan  paper,  without  title $3 


9  SOURCE  DE  L’ALBARINE 

‘‘This  is  one  of  the  most  masterly  of  Appian ’s  etchings  in  execution,  and  so 
harmonious  in  tone  that  I conclude  it  must  have  been  done  from  one  of  the 
artist’s  pictures.  The  sky  and  distance  are  delightful  in  quality;  the  distance 


A Summer  Day,  by  Appian,  see  No.  6 


Source  de  l’Albarine,  by  Appian,  see  No.  9 


The  Canal,  by  Lalanne,  see  No.  188 


has  almost  the  softness  of  oil.  The  reader  may  observe  with  advantage  the  art 
with  which  the  water  is  shaded,  its  lightest  space  being  small  and  very  central, 
and  the  skilful  management  of  what  is  intended  to  be  distinct  and  what  is  in- 
tended to  be  confused.  The  drake  flapping  his  wings,  for  instance,  and  the  tree 
to  the  left  are  distinct  things  amidst  a good  deal  of  delightful  mystery  and 
confusion,  and  both  are  very  beautifully  drawn.” — Philip  Gilbert  Hamerton, 
Etching  and  Etchers , p.  204. 

Height  7%,  width  14% 

Impressions  on  Japan  paper $10 

(See  Illustration) 

10  PORT  OF  SAN  REMO 

Height  9%,  width  13% 


Signed  artist’s  proofs  on  Japan  paper $12 

Lettered  impressions 4 


11  PORT  OF  GENOA 

Height  11%,  width  16% 

Signed  artist’s  proofs  on  Japan  paper $7.50 

(See  Illustration) 


12  RETOUR  DE  LA  PECHE  A COLLIOURE 

Height  9%,  width  13% 

Signed  artist’s  proofs  on  Japan  paper $12 

Lettered  impressions 6 


13  A ROCKY  RIVER  BED 

‘ 1 This  is  a very  fine  study  of  rocks.  . . . The  figure  and  net  are  beautifully 
introduced.  ’ ’ — Philip  Gilbert  Hamerton,  Etching  and  Etchers,  p.  204. 


Height  8%,  width  14% 

Signed  artist’s  proofs  on  Japan  paper $12 

Lettered  impressions 6 


BACHER  (OTTO  H.) 

Born  at  Cleveland,  Ohio.  Studied  at  Munich,  Venice,  and  Paris. 

“Otto  Bacher  has  practised  etching  with  accomplished  skill,  and  with  sim- 
plicity of  execution  which  gives  his  work  unusual  force  with  no  lack  of  effec- 
tiveness. His  Venice  plates  are  among  the  best  performances  of  any  American. 
His  grip  of  locale  and  ability  to  manage  with  ease  the  complicated  groupings 
of  boats,  masts,  cordage,  and  the  dazzling,  fascinating  undulation  of  water  re- 
flections in  brilliant  sunlight,  have  enabled  him  to  produce  plates  that  are  never 
lacking  in  either  pictorial  or  technical  interest.  ’ ’ — Will  Jenkins,  Modern 
Etching  and  Engraving  in  America. 

“The  whole  of  it  (the  set  of  Venice  Etchings),  accessories  and  all,  evinces  a 
strong,  artistic  feeling.  Bold  and  painter-like  treatment  characterizes  it 
throughout. ’’—Seymour  Haden. 


11 


Note.  In  addition  to  plates  Nos.  14-37  we  have  in  our  present  stock  a 
number  of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and 
of  prices  will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed, 
free,  on  request.  (See  page  3.) 


14  INTERIOR  OF  ST.  MARK’S,  VENICE 

This  large  and  powerful  etching  is  recommended  as  being  one  of  the  very  best 
ever  produced  by  an  American  artist.  It  is  quite  as  effective  as  the  best  work 
of  Haig,  while  it  is  more  painter-like.  All  who  have  visited  this  magnificent  old 
edifice  will  recognize  the  fidelity  with  which  the  artist  has  rendered  the  vast 
Byzantine  interior  with  its  great  pillars  of  precious  marble,  its  uneven,  tessel- 
lated pavements,  and  the  golden  glow  of  its  quaint  mosaics. 

Mr.  Bacher’s  etching  is  of  the  same  size  as  his  painting,  which  was  done  in 
the  church  itself.  The  renowned  French  master,  Meissonier,  was  painting  in 
St.  Mark’s  at  the  same  time,  and  Mr.  Bacher  is  indebted  to  him  for  much 
friendly  aid  and  counsel  in  the  course  of  his  work. 

Height  25%,  width  16 

Remarque  proofs  on  Japan  paper $30 

(See  Illustration) 


15  THE  LIDO,  VENICE 

A great  stretch  of  coast  and  sea.  (This  plate  was  finely  reproduced  in  The 
Century  Magazine  to  illustrate  the  article  “ American  Etchers,”  by  Mrs.  Van 
Rensselaer.) 

Height  7,  width  11 

Signed  artist’s  proofs  on  Japan  paper $8 


16 


CASA  D’ORO,  VENICE 


Height  7%,  width  6 


Signed  artist’s  proofs  on  Japan  paper 


$6 


17  VENICE,  SHIPPING  AND  THE  DUCAL  PALACE 

Height  414,  width  13% 

Signed  artist’s  proofs  on  Japan  paper $15 

(See  Illustration) 


18  TWO  BOATS,  VENICE 

Height  3%,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $8 

(See  Illustration) 


19  THREE  SHIPS,  VENICE 

Height  6%,  width  5% 
Signed  artist’s  proofs  On  India  paper 
12 


$8 


Interior  of  St.  Mark’s,  Venice,  by  Bacher,  see  No.  14 


. 


Two  Boats,  Venice,  by  Bacher,  see  No.  18 


The  Rialto,  by  Bacher,  see  No.  21 


Venice,  Shipping  and  the  Ducal  Palace,  by  Bacher,  see  No.  17 


20  THE  GONDOLIER 


Height  14%,  width  9 

Signed  artist’s  proofs  on  Japan  paper $7 

21  THE  RIALTO 

Height  4%,  width  9 % 

Signed  artist’s  proofs  on  India  paper $10 

(See  Illustration) 

22  A CANAL  IN  VENICE 

■ Height  9,  width  6 

Signed  artist’s  proofs  on  India  paper $10 

23  LACEMAKERS 

Height  13  %,  width  8% 

Signed  artist’s  proofs  on  Japan  paper $10 

24  THE  OLD  MARKET,  FLORENCE 

Height  7,  width  10 

Signed  artist’s  proofs  on  Japan  paper $8 

25  PONTE  VECCHIO 

Height  7 %,  width  10% 

Signed  artist’s  proofs  on  Japan  paper .$6 

26  CHIOGGIA 

Height  6%,  width  9% 

Signed  artist’s  proofs  on  India  paper $8 

27  NET  MAKERS,  CHIOGGIA 

Height  11%,  width  8% 

Signed  artist’s  proofs  on  Japan  paper $10 

28  AT  REST 

Height  4,  width  6% 

Signed  artist’s  proofs  on  India  paper $4 

29  STAUFA  BRUCK,  DANUBE 

Height  3%,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $5 

17 


30  SUTZBACH 


Height  2%,  width  8% 

Signed  artist's  proofs  on  Japan  paper $4 

31  THE  BRIDGE,  WORTH 

Height  5%,  width  11 

Signed  artist's  proofs  on  Japan  paper $5 

32  VILLAGE  OF  ALKOVEN 

Height  2%,  width  9 

Signed  artist’s  proofs  on  India  paper $5 

33  UNTER  SCHLEISSHEIM 

Height  5%,  width  11% 

Signed  artist's  proofs  on  India  paper $5 

34  THE  LOCK,  SCHLEISSHEIM 

Height  5%,  width  3% 

Signed  artist's  proofs  on  Japan  paper $3 

35  LAVANDERIA 

Height  13%,  width  8% 

Signed  artist's  proofs  on  Japan  paper $10 

36  POPLARS,  ROYAL  GARDENS 

Height  8%,  width  5% 

Signed  artist’s  proofs  on  India  paper $12 

37  DONAUSTAUF 

Height  4,  width  10% 

Signed  artist’s  proofs  on  Japan  paper $4 

BAUERLE  (MISS  AMELIA) 

Fellow  of  the  Royal  Society  of  Painter-Etchers,  London. 

38  INFANT  BACCHUS 

Height  3%,  width  4% 

Signed  artist’s  proofs  on  Japan  paper $3 

Fifty  proofs  only  were  printed  and  the  plate  was  then  destroyed. 

18 


Port  of  Genoa,  by  Appian,  see  No.  11  Fishing  Boats,  Holland,  by  Gravesande,  see  No.  160 


BEATTY  (JOHN  W.),  PITTSBURGH 

Born  in  Pittsburgh,  Pa.,  1851.  Studied  in  Munich.  Member  of  the  Jury  on 
Painting,  World’s  Columbian  Exposition,  Paris  Exposition,  etc.  Director  of 
Pine  Arts,  Carnegie  Institute,  Pittsburgh. 

39  THE  RETURN  TO  LABOR 

A farmer  takes  down  the  fence-rails  to  admit  his  horses  to  the  field.  This  fine 
rustic  scene  is  very  strongly  drawn  and  very  intelligently  etched.  It  has  won 
high  praise  from  the  critics. 

Height  13,  width  19% 

Signed  artist’s  proofs  on  Japan  paper $15 


BEAUVAIS  (ARMAND) 

The  paintings  of  this  artist  have  won  him  a medal  at  the  Paris  Salon. 

40  THE  SHEPHERDESS  AND  FLOCK 

Etched  from  the  artist’s  own  painting  and  exhibited  at  the  Paris  Salon.  This 
very  pleasing  picture  is  recommended  as  one  of  the  best  and  prettiest  at  a 
moderate  price. 

Height  11,  width  17 


Signed  artist’s  proofs  on  vellum $10 

Impressions  on  Japan  paper 5 


BELIN-DOLLET  (GUSTAVE) 

Pupil  of  Millet  and  Harpignies. 

41  GOING  TO  WORK 

After  the  original  etching  by  J.  E.  Millet. 


Height  18,  width  14% 

Signed  artist’s  proofs  on  old  Dutch  paper $12 

Proofs  on  old  Dutch  paper,  unsigned 6 


42  THE  SHEPHERDESS  KNITTING 

After  the  original  etching  by  J.  F.  Millet. 


Height  18,  width  14% 

Signed  artist’s  proofs  on  old  Dutch  paper $12 

Proofs  on  old  Dutch  paper,  unsigned 6 


BEN- YUSUF  (MISS  ZAIDA) 

43  PORTRAIT  OF  F.  MARION  CRAWFORD 

Platinum  photograph  from  life. 

This  is  perhaps  the  best  portrait  of  the  eminent  novelist. 
Height  11,  width  9 

Prints  mounted  on  Van  Gelder  paper,  and  signed 
by  Mr.  Crawford  (50  only) $5 

21 


BOBERG  (FERDINAND) 


44  THE  CHOIR  OF  ST.  MARK’S,  VENICE 

The  designer  and  etcher  of  this  fine  pictorial  plate  is  also  a distinguished 
architect.  The  plate  was  exhibited  at  the  Paris  Salon  of  1893. 

Height  23%,  width  18% 

Signed  artist’s  proofs  on  India  paper $24 


BOILOT  (ALFRED) 

A pupil  of  Ulysse  Butin  and  Courtry. 

His  masterly  etchings  have  been  exhibited  at  the  Salon  since  1885 


45  SONG  WITHOUT  WORDS 

This  fine  musical  subject  is  an  ideal  representation  of  young  Mendelssohn 


and  his  sister  Fanny. 

Height  14,  width  16% 

Remarque  proofs  on  vellum $20 

Signed  artist’s  proofs  on  India  paper 12 


46  THE  YOUNG  MOZART 

Etched  from  the  bronze  statue  by  Barrias,  in  the  Luxembourg  Gallery,  Paris. 


Height  11%,  width  8% 

Remarque  proofs  on  vellum $9 

Signed  artist’s  proofs  on  India  paper 5 


47  THE  CONNOISSEUR 

From  the  painting  by  Aranda.  Rich  interior  of  an  artist’s  studio.  The  painter 
is  seen  exhibiting  his  picture  to  a distinguished  visitor.  The  costumes  are  of  the 
17th  century.  This  minutely  etched  plate  won  an  “ Honorable  Mention”  at  the 
Paris  Salon. 

Height  7%,  width  6 

Remarque  proofs  on  vellum $12 

Remarque  proofs  on  Japan  paper 8 

Signed  artist’s  proofs 5 

(See  Illustration) 


48  A GENTLEMAN  READING 

This  plate,  after  the  painting  by  Meissonier,  is  strongly  recommended  as  being 
one  of  the  best  reproductions  from  the  renowned  French  master.  In  an  old- 
fashioned  room  a quiet,  intellectual  gentleman,  in  quaint  attire,  is  seen  deeply 
absorbed  in  his  book.  It  is  a specially  pleasant  and  restful  picture  for  the 
library  or  reading-room. 

Height  10%,  width  7 
Signed  artist’s  proofs  on  Japan  paper 
(See  Illustration) 

22 


$5 


Two  Little  Sisters,  by  Borner,  see  No.  51 


49  THE  HALBERDIER 

From  the  painting  by  Meissonier.  A stalwart  young  soldier  in  rich  17th 
century  costume  stands  on  guard  holding  his  halberd. 


Height  12,  width  8 

Remarque  proofs  on  vellum $12 

Signed  artist’s  proofs  on  Japan  paper 5 


50  THE  FISHER  WOMAN 

From  the  painting  by  Ulysse  Butin.  From  the  stern  of  a large  fishing-boat  a 
woman  is  seen  fishing,  while  a boy  in  a smaller  boat  draws  up  a fish.  From  the 


Paris  Salon.  A capital  framing  subject. 

Height  11%,  width  6 

Remarque  proofs  on  vellum $10.00 

Remarque  proofs  on  Japan  paper.  7.50 

Signed  artist’s  proofs  on  Japan  paper 4.00 


BORNER  (F.  A.),  BERLIN 

51  TWO  LITTLE  SISTERS 

After  Cornelis  de  Yos. 

The  daughters  of  the  painter,  Cornelis  de  Yos  (1585-1651). 
Mezzotinted  in  the  manner  of  the  18th  century  mezzotint  engravers. 

Height  13%,  width  16 

Signed  artist’s  proofs  (250  only) $36 

The  above  quota  of  proofs  will  be  printed  by  Goulding,  of  London,  and  the 
plate  will  then  be  destroyed. 

(See  Illustration) 


BRACQUEMOND  (FELIX) 

Born  in  Paris  in  1833. 

‘ ‘ Bracquemond  a eu  toutes  les  medailles.  II  a ete  decore  en  1882.  En  1884  il 
a obtenu  la  recompense  supreme;  la  medaille  d’honneur,  a laquelle  s’est  ajoutee 
la  satisfaction  de  s ’entendre  dire  unaniment  qu’il  l’avait  meritee  plus  d’une 
fois  deja.  Henri  Beraldi,  Les  Graveurs  du  XIXe  Siecle,  Yol.  3,  p.  9. 

Note.  In  addition  to  plates  Nos.  52-58  we  have  in  our  present  stock  a num- 
ber of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and  of 
prices  will  be  found  in  The  Print  Collector’s  Bidletin,  which  will  be  mailed, 
free,  on  request.  (See  page  3.) 

52  SEA  GULLS  (LES  MOUETTES) 

Height  10%,  width  17% 

Signed  artist’s  proofs $24 


53  A FLOCK  OF  TEAL  ALIGHTING  (ROSEAUX  ET  SARCELLES) 

Height  12,  width  9% 

Signed  artist’s  proofs $12 


25 


54  THE  BATHER  (CANARDS  SURPRIS) 

Height  14,  width  1014 

Signed  artist’s  proofs $18 

(See  Illustration) 

55  PHEASANTS  AT  DAWN  (BRUMES  DE  MATIN) 

Height  8%,  width  13% 

Signed  artist’s  proofs $15 

56  TEAL  (SARCELLES) 

Height  8%,  width  11*4 

Signed  artist’s  proofs $12 

(See  Illustration) 

57  LAPWING  AND  TEAL  (VANNEAUX  ET  SARCELLES) 

Height  10%,  width  7% 

Signed  artist’s  proofs $12 

(See  Illustration) 

58  THE  COMING  STORM  (LA  NUEE  D’ORAGE) 

Height  9%,  width  13% 

Signed  artist’s  proofs $18 

(See  Illustration) 


BRUNET-DEBAINES  (A.) 

Born  at  Havre  in  1845.  Pupil  of  Lalanne,  Jacquemart  and  Gaucherel. 

* 1 Few  etchers  of  the  modern  French  school  have  produced  such  uniformly  good 
work. ’’—Philip  Gilbert  Hamerton,  Etching  and  Etchers,  p.  229. 


59 


HARFLEUR 


Height  10%,  width  8% 


Impressions  on  India  paper 


$7.50 


BUHOT  (FELIX) 

Born  at  Valognes,  Normandy,  1847.  Died  at  Paris,  1898. 

‘ 1 The  technique  of  Buhot  is  assuredly  far  from  being  simple.  But  he  is  free. 
He  is  not  the  slave  of  rules  and  formulas ; he  has  not  the  least  respect  for  arbi- 
trary laws;  he  blends  and  mixes  all  the  different  means  used  for  obtaining  ef- 
fects in  black  and  white— whether  by  cutting  into  or  corroding  the  plate.  He 
is  not  the  slave  of  any  one  implement.  For  Buhot  would  not  understand  the 
traditional  distinction  made  between  a line  engraver,  an  etcher,  or  a worker  in 
dry-point,  nor  of  all  those  good  people  who  separate  and  group  themselves  ac- 
cording to  the  end  at  which  they  break  the  egg  they  are  going  to  eat ! He  used 
to  -,ay  to  himself  that  painters  are  not  classed  according  to  whether  they  employ 
a round  brush  or  a flat  brush  or  palette-knives  to  work  with,  and  without  the 

26 


The  Coming  Storm,  by  Bracquemond,  see  No.  58 


Teal,  by  Bracquemond,  see  No.  56 


The  Bather,  by  Bracquemond,  see  No.  54  Lapwing  and  Teal,  by  Bracquemond,  see  No.  57 


least  scruple  he  made  use  of  all  the  different  tools  of  an  engraver — etching- 
point  and  burin,  roulette,  burnishing-tool,  and  scraper,  and  of  all  the  different 
processes,  etching,  soft  ground,  dry-point,  and  aquatint,  and  particularly  the 
infinitely  delicate  wash  or  tone,  which  he  obtained  by  means  of  flowers  of  sul- 
phur ; and  he  takes  advantage  of  the  least  £ 1 accident  ’ ’ on  the  plate,  such  as  the 
bur  left  by  the  point  or  the  roughness  produced  by  cracks  in  the  varnish.  He 
puts  in  lights  with  the  scraper,  the  brush,  or  the  stump,  and  he  touches  up  the 
plate  with  the  thumb  or  the  rag,  and  makes  use  of  rebiting  with  such  consum- 
mate, not  to  say  paradoxical,  ability  that,  as  M.  Bourcard  tells  us,  certain 
plates  begun  as  dry-points,  then  carried  forward  with  the  roulette,  are  finally 
rejuvenated  by  being  plunged  into  an  acid  bath  which  converts  them  into  etch- 
ings. . . . 

“Let  us  say  at  once  that  Buhot — painter  and  etcher — is  above  all  a poet. 
The  world  at  large  cannot  fail  to  admire  the  form  of  his  message,  his  vocabu- 
lary and  syntax — that  is  to  say,  the  means  by  which  he  expresses  himself.” — 
Leonce  Benedite,  Felix  Buhot : Painter-Etcher. 

Note.  Special  attention  is  invited  to  our  large  collection  of  Felix  Buhot ’s 
etchings.  A detailed  list  of  titles  and  of  prices  Avill  be  found  in  The  Print 
Collector’s  Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 


BURGESS  (WALTER  W.) 

A distinguished  architect  and  a Fellow  of  the  Royal  Society  of  Painter-Etchers. 
60  THE  HOUSE  WHERE  WHISTLER  DIED 

In  the  original  the  inscription  on  the  scroll  is  plainly  visible  and  reads : ‘ ‘ In 
this  house,  No.  74  Cheyne  Walk,  Chelsea,  Whistler  died  on  the  17th  July,  1903.” 

Height  8,  width  12 

Signed  artist’s  proofs  on  Whatman  paper $12 


61 


WINCHESTER 


Height  8%,  width  12% 

Signed  artist’s  proofs  on  Whatman  paper $9 


62  WESTMINSTER  PALACE 

Height  21,  width  31 

Signed  artist’s  proofs  on  Whatman  paper $36 

(See  Illustration) 

A few  of  the  finest  selected  proofs  bear  as  remarque  on  the  lower  margin  an 
original  pencil  drawing  by  the  artist,  and  no  two  of  these  drawings  are  alike. 
Price  $72. 


63  OXFORD,  THE  RADCLIFFE  CAMERA 

A most  interesting  view  showing  not  only  The  Radcliffe  Camera,  but  also  the 
Library  of  the  College  of  All  Souls,  the  College  of  All  Souls,  the  Church  of  St. 
Mary,  Virgin,  and  Brazenose  College. 

Height  17%,  width  26% 

Signed  artist’s  proofs  on  Whatman  paper $30 

A few  of  the  finest  selected  proofs  bear  as  remarque  on  the  lower  margin  an 
original  pencil  drawing  by  the  artist,  and  no  two  of  these  drawings  are  alike. 
Price  $60. 


1 


64  CANTERBURY  CATHEDRAL 

A companion  etching  to  Mr.  Burgess’  plate  of  Lincoln  Cathedral,  No.  65. 

A short  .prospectus,  giving  a historical  sketch  of  Canterbury  Cathedral,  will 
be  mailed,  free,  on  application  to  the  publishers. 

Height  25,  width  19 

Signed  artist’s  proofs  on  Japan  paper $24 

65  LINCOLN  CATHEDRAL 

Height  25,  width  19 

Signed  artist’s  proofs  on  Japan  paper $24 

(See  Illustration) 


BURT  (CHARLES) 

Born  at  Edinburgh,  November  8,  1822.  About  1845  he  came  to  America  and 
was  employed  by  A.  L.  Dick,  with  whom  he  remained  for  about  four  years. 
The  admirable  copy  of  Raphael  Morghen’s  print  of  the  Last  Supper,  after 
Leonardo  da  Vinci,  which  bears  the  name  of  A.  L.  Dick  as  engraver,  was 
executed,  according  to  Burt’s  own  statement,  entirely  by  himself,  and  occupied 
three  years  and  nine  months  of  the  time  he  was  with  that  engraver.  He  was 
for  many  years  engraver  of  vignettes  for  the  Treasury  at  Washington.  He  died 
March,  1892. 


66  PORTRAIT  OF  LONGFELLOW  (AT  THE  AGE  OF  75) 

1 1 A very  beautiful  pure  line  engraving,  it  has  all  the  refinement  and  sweetness 
and  tranquillity  which  were  not  less  the  qualities  of  the  poet  than  of  his  verse, 
and  it  will  probably  become  the  familiar  and  accepted  portrait.” — Harper’s 
Weekly. 

1 1 That  most  excellent  engraved  portrait  of  Longfellow  which  Charles  Burt 
has  engraved  and  Frederick  Keppel  has  published.  It  is  one  of  the  best  portrait 
engravings  that  has  been  issued  in  this  country,  a noble  likeness  of  a noble  man. 
It  is  drawn  and  engraved  in  the  pure  line  manner.  ’ ’ — Independent. 

From  a drawing  from  life  by  the  engraver. 


Height  8*4,  width  6% 

Signed  artist’s  proofs  on  India  paper $20.00 

Unsigned  proofs  on  India  paper 7.50 


CALLAHAN  (J.  J.) 

67  NEWPORT  HARBOR 


Height  7y2,  width  11  % 

Signed  artist ’s  proofs  on  J apan  paper $5 

(See  Illustration) 


68  SALT  MARSHES,  NEWPORT 

Height  10,  width  15 
Signed  artist’s  proofs  on  Japan  paper 


.$6 


Westminster  Palace,  by  Burgess,  see  No.  62 


Lincoln  Cathedral,  by  Burgess,  see  No.  65 


69  A MARCH  WIND 


Height  6%,  width  11% 

Signed  proofs  on  Japan  paper.  ...  $5 


CHAIGNEAU  (FERDINAND) 

70  MOUTONS  EN  PLAINE 

i 1 1 think  this  is  one  of  the  best  examples  of  modern  etching  of  a simple  kind, 
being  at  the  same  time  right  in  manner,  true  to  nature  and  poetical  in  feeling. 
The  figure  of  the  shepherdess  is  almost  sublime  in  her  simple  dignity,  as  she 
glances  over  her  sheep.  The  landscape,  without  being  minute,  is  grand  and 
true,  the  play  of  light  in  the  corn  being  very  beautiful.  Like  Daubigny’s  Parc 
a,  Moutons,  this  etching  is  a genuine  pastoral  poem. ’’—Philip  Gilbert  Hamer- 
ton,  Etching  and  Etchers,  p.  231. 

Height  7%,  width  15% 

Impressions  on  Holland  paper,  without  title $4 


CHASSINAT  (E.) 

71  A SHEEPFOLD 

After  the  painting  by  Anton  Mauve. 
Height  6%,  width  10% 


Remarque  proofs  on  vellum $5 

Remarque  proofs  on  Japan  paper 3 


(See  Illustration) 


CHURCH  (F.  S.) 

Born  at  Grand  Rapids,  Michigan.  Resides  in  New  York  City.  Studied  with 
Walter  Shirlaw  and  at  the  National  Academy  of  Design.  Mr.  Church  is  a 
Member  of  the  National  Academy  of  Design,  American  Water  Color  Society, 
and  New  York  Etching  Club. 

‘ ‘ As  yet  I have  spoken  only  of  our  landscape  etchers,  and  they  form,  indeed, 
a great  majority  among  our  workmen.  But  there  are  a few  who  have  succeeded 
with  other  themes.  Chief  among  these  is  Mr.  F.  S.  Church,  an  artist  who  is  so 
popular,  and  whose  work  has  been  so  thoroughly  discussed  in  Europe  as  well  as 
here  at  home,  that  neither  my  description  nor  my  praise  is  needed.  His  fan- 
tastic, graceful  imagination  is  unique  in  our  art,  and  works  as  well  through  the 
medium  of  point  and  acid  as  in  other  ways. ’’—Mrs.  Schuyler  van  Rens- 
selaer, American  Etchers,  p.  20. 

72  A TWENTIETH  CENTURY  SYMPHONY 

Height  8%,  width  12 

Signed  artist’s  proofs  on  India  paper $12 

73  “A  TOI  !”  (CUPID  PRESENTING  A ROSE) 

Height  7,  width  14% 

Signed  artist ’s  proofs  on  Japan  paper 
37 


$6 


74  “WE  MEET  THEE1 


Height  314,  width  5% 

Signed  artist’s  proofs  on  Japan  paper $3 

75  SILENCE  (THE  HEAD  OF  A MUMMY) 

Height  6,  width  8 

Remarque  proofs  on  Japan  paper $6 

Each  proof  bears  on  the  lower  margin  an  original  drawing  by  the  distin- 
guished artist,  and  no  two  of  the  drawings  are  alike. 

76  “A  COLD  MORNING,  SIR!” 

Height  4,  width  6% 

Signed  artist’s  proofs  on  Japan  paper $6 


COPPIER  (CHARLES) 

77  A CREOLE 

After  the  painting  by  Henner. 


Height  8 14,  width  6% 

Signed  artist’s  proofs  on  vellum $5 

Signed  artist’s  proofs  on  Japan  paper 3 

78  LA  MUSICA  (AFTER  HEBERT) 


Female  figure  with  harp.  A fine  musical  subject. 
Height  15%,  width  10% 

Remarque  proofs  on  vellum $20 


COROT  (JEAN-BAPTISTE  CAMILLE) 

Born  at  Paris  in  1796,  died  there  in  1875 

1 1 In  spite  of  defects,  the  few  etchings  of  Corot  have  one  merit  and  charm — 
they  do  certainly  recall  to  mind,  by  association  of  ideas,  his  charming  work  in 
oil,  so  full  of  the  sweetest  poetical  sentiment.  All  sins  are  forgiven  to  the  true 
poets.  . . . Corot  is  a sensitive  dreamer,  dwelling  in  a world  of  his  own.” — 
Philip  Gilbert  Hamerton,  Etching  and  Etchers,  pp.  223,  224. 

‘ ‘ Corot ’s  etchings  are  most  instructive  to  any  student  of  Art.  In  this  master ’s 
works,  as  in  Millet ’s,  we  have  the  rapid,  decisive  expression  of  the  central  ideas 
of  the  picture:  it  becomes  an  illustration  of  Rousseau’s  maxim,  that  unless  a 
picture  is  made  on  the  first  five  lines  it  will  never  be  made.” — From  W.  J. 
Stillman ’s  lecture  before  the  Union  League  Club,  New  York. 

Note.  Special  attention  is  invited  to  our  collection  of  Corot ’s  etchings.  A 
detailed  list  of  titles  and  of  prices  will  be  found  in  The  Print  Collector’s  Bul- 
letin, which  will  be  mailed,  free,  on  request.  (See  page  3.) 


COUTIL  (LEON) 

Born  October  13,  1856,  at  Villers.  A pupil  of  Braequemond,  and  one  of  the  very 
best  of  the  French  etchers.  He  has  a style  of  his  own  which  is  rich  and  full  of 
color  effect. 


38 


79  THE  HARVESTERS 


From  the  famous  picture  by  Jules  Breton  in  the  Luxembourg  Gallery,  repre- 
senting the  harvesters  leaving  the  field  as  the  sun  goes  down. 


Height  9%,  width  19 

Remarque  proofs  on  vellum $24 

Remarque  proofs  on  Japan  paper 18 

Signed  artist’s  proofs  on  India  paper 12 


80  BEATRIX  DONATO  AND  TITIAN’S  SON 

Subject  from  the  poem  by  Alfred  De  Musset.  The  story  is  that  of  the  son  of 
Titian,  who  having  painted  the  portrait  of  his  beloved  Beatrix,  found  it  so  beau- 
tiful that  he  would  never  paint  another  picture.  The  half-length  figures  of  the 
beautiful  blonde  girl  and  the  strong,  dark  young  man  are  seen  contemplating 
the  portrait. 

Height  11,  width  9 


Remarque  proofs  on  vellum $15 

Remarque  proofs  on  Japan  paper 10 


COXE  (REGINALD  CLEVELAND) 

“Mr.  Coxe  is  a Baltimorean,  a painter  of  the  Bonnat  school.  His  interpreta- 
tions all  partake  of  the  imaginative  and  poetical.  His  etchings  after  his  own 
pictures  are  carried  out  to  a point  of  finish  quite  equal  to  the  originals,  which 
he  translates  with  an  amazing  tenderness  of  feeling,  and  they  occupy  a unique 
place  in  the  productions  of  the  etchers  of  our  day.  ’ ’ — Alfred  Trumble,  The 
Art  Review. 


81  THE  SAILING  OF  THE  FISHERMEN 

Height  12,  width  24% 

Signed  artist’s  proofs  on  Japan  paper $15 


82  A HUDSON  RIVER  LIGHTER 

Height  15,  width  25 

Signed  artist’s  proofs  on  Japan  paper $15 

83  NEW-YORK  HARBOR 

The  harbor  as  seen  from  the  Battery,  a receding  ferryboat  in  the  foreground, 
the  Statue  of  Liberty  further  off,  and  the  New  Jersey  coast  in  the  distance. 

Height  12%,  width  28% 

Signed  artist’s  proofs  on  Japan  paper $20 


84  THE  LOST  CHORD 

The  subject  is  suggested  by  Adelaide  Proctor’s  poem  of  the  same  title,  made 
familiar  to  Americans  by  Sir  Arthur  Sullivan’s  music.  Alone,  in  the  choir  of 
a dim  and  mysterious  church,  a saintly  looking  monk  is  seated  in  a reverie  with 

39 


his  hands  upon  the  keys  of  the  great  organ  which  towers  above  him.  This  pic- 
ture is  as  far  removed  as  possible  from  the  commonplace,  and  is  a most  impres- 
sive and  poetical  work. 

Height  22%,  width  16 

Signed  artist’s  proofs  on  Japan  paper $25 


85  THE  RETURN  OF  THE  FLEET 

A night  scene  off  Eastern  Point  Lighthouse,  near  Gloucester,  lighted  by  the  new 
moon  and  by  a lighthouse.  A number  of  vessels  coming  out  of  the  darkness  are 
heading  toward  the  shore. 

Height  9%,  width  25% 

Signed  artist’s  proofs  on  Japan  paper $15 


86  ENTRANCE  TO  GLOUCESTER  HARBOR 

Companion  picture  to  ‘ ‘ The  Return  of  the  Fleet.  ’ ’ The  foreground  shows 
great  rocks  covered  with  seaweed,  and  in  the  brilliantly  lighted  distance  a 
number  of  vessels  drying  their  sails  are  seen. 

Height  10,  width  24% 

Signed  artist’s  proofs  on  Japan  paper $15 


87  THE  PASSING  SQUALL 

Under  a stormy  sky  the  black  and  angry  waves  of  the  sea  are  seen  from  the 
shore.  From  a sketch  on  the  Jersey  coast,  suggested  by  Courbet’s  manner  in 
marine  painting. 

Height  9%,  width  24 

Signed  artist’s  proofs  on  Japan  paper $15 


DAUBIGNY  (CHARLES  FRANCOIS) 

“Nearly  thirty  years  have  passed  since  Daubigny  laid  down  his  brushes  and 
etching-needle  forever.  Yet  his  fame  has  broadened  year  by  year,  and  his 
works  have  kept  their  place  among  the  classics  in  Art.  They  have  neither 
grown  old  nor  old-fashioned,  but  still  convey  with  perennial  freshness  the 
master ’s  delight  in  the  springtimes,  summers,  autumns  and  winters  that  greeted 
his  painter ’s  eye  and  poet ’s  soul  as  he  passed  through  the  world.  . . . 

‘ ‘ That  his  etchings  are  not  more  widely  known  thus  far,  is  perhaps  partly 
accounted  for  by  the  fame  of  the  painter  having  obscured  that  of  the  etcher, 
as  well  as  by  Daubigny’s  own  absolute  disregard  for  worldly  gain.  He  em- 
ployed no  tricks  to  attract  public  attention,  nor  did  he  seek  to  tempt  the  col- 
lector by  any  undue  multiplication  of  ‘states.’  Yet,  as  painter  and  etcher, 
none  of  the  Barbizon  men  surpassed  him  in  the  freshness  of  his  own  rustic  and 
riverside  vein.  It  seems  almost  a presumption  to  praise  him,  since  his  fame  is 
well-nigh  universal,  and  those  best  qualified  to  judge  concede  his  etchings  of 
the  purely  rustic  phases  of  landscape  to  be  unexcelled.” — Robert  J.  Wicken- 
den,  Charles  Frangois  Daubigny. 

Note.  Special  attention  is  invited  to  our  large  collection  of  Daubigny’s 
etchings.  A detailed  list  of  titles  and  of  prices  will  be  found  in  The  Print 
Collector's  Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 

40 


The  Patriotic  Song,  by  Faivre,  see  No.  91 


La  Glaneuse,  by  Dautrey,  see  No.  88  The  Fisherman’s  Daughter,  by  Los  Rios,  see  No.  199 


DAUTREY  (LUCIEN) 

This  distinguished  French  etcher  is  a pupil  of  Courtry. 

88  LA  GLANEUSE 

From  the  painting  by  Jules  Breton.  Among  the  art  masterpieces  of  Paris  few 
pictures  are  better  known  or  more  admired  than  Jules  Breton’s  “Glaneuse”  in 
the  Luxembourg  Gallery.  The  magnificent  peasant  woman  represented  is  not 
an  ordinary  studio  model  disguised  in  homely  attire,  but  is  a portrait  drawn  in 
the  harvest  field  at  Courrieres  in  1877. 

Of  the  etching  by  Lucien  Dautrey  Jules  Breton  writes:  “Because  I am  com- 
pletely satisfied  with  your  plate  of  my  1 Glaneuse,  ’ I will  with  pleasure  sign  a 
selection  of  the  best  proofs.  ’ ’ 

Height  22,  width  12 

Remarque  proofs  on  vellum,  signed  by  painter 


and  etcher $80 

Remarque  proofs  on  vellum,  signed  by  etcher 
only  60 

Remarque  proofs  on  Holland  paper 48 

Lettered  impressions 12 

(See  Illustration) 


DESBROSSES  (LEOPOLD) 

His  etchings,  exhibited  at  the  Paris  Salon,  have  won  a gold  medal. 

89  TRANQUIL  EVENING 

A rich  landscape  with  cattle  in  a stream.  This  fine  etching  recalls  the  style 

of  Claude  Lorraine. 

Height  14,  width  23% 

Remarque  proofs $20 


DIARD  (A.) 

90  LE  BENe'dICITe' 

From  the  painting  by  Walter  Gay.  The  original  painting  has  been  purchased 
by  the  Government  for  the  gallery  of  the  Luxembourg. 

Height  10,  width  7 

Unsigned  proofs  on  Japan  paper $4 


FAIVRE  (CLAUDE) 

A pupil  of  Charles  Courtry. 


91  THE  PATRIOTIC  SONG 

From  the  painting  by  Roybet.  This  large  and  magnificent  plate  well  merits 
the  gold  medal  which  it  won  at  the  Paris  Salon.  Very  few  modern  plates  can 
equal  ‘ 1 The  Patriotic  Song  ’ ’ in  truth  and  vividness  of  action  combined  with 
powerful  pictorial  effect,  while  for  masterly  and  accurate  drawing  it  stands  in 

45 


honorable  contrast  with  many  ambitious  and  showy  plates  in  which  the 
draughtsmanship  is  weak,  false  and  crude. 

The  etching  shows  a quaint  and  picturesque  interior,  in  which  are  seen  two 
dashing  cavaliers  in  17th  century  costume.  The  standing  cavalier  is  singing, 
with  impassioned  gesture,  while  the  other,  who  is  seated,  accompanies  him  on 
the  violoncello. 

Height  26%,  width  18% 

Remarque  proofs  on  vellum,  signed  by  painter 


and  etcher $80 

Remarque  proofs  on  Japan  paper,  signed  by 
painter  and  etcher 50 

Signed  artist’s  proofs  on  Holland  paper 30 

Lettered  impressions 12 

(See  Illustration) 

92  THE  LACEMAKERS 


From  the  painting  by  Paul  Soyer  in  the  Luxembourg  Gallery,  Paris. 


Height  14%,  width  19% 

Remarque  proofs  on  Japan  paper $18 

Signed  artist’s  proofs  on  Holland  paper 12 

Unsigned  proofs 6 


93  A GAME  OF  CHESS 

From  the  painting  by  Roybet. 

This  beautiful  plate  won  a diploma  of  ‘ ‘ Honorable  Mention”  at  the  Paris  Salon. 
Height  13%,  width  17% 

Signed  artist’s  proofs  on  Japan  paper,  signed  by 


painter  and  etcher $30 

Signed  artist’s  proofs  on  Japan  paper 15 

Lettered  prints 9 


FARRER  (HENRY) 

“Mr.  Henry  Farrer,  for  example,  one  of  the  earliest  and  most  prolific  of  our 
etchers,  has  tried  subjects  of  many  sorts,  but  all  of  local  flavor,  producing  his 
best  plates,  perhaps,  when  depicting  scenes  in  and  about  the  harbor  of  New 
York.  His  early  work  was  very  careful  and  elaborate,  but  he  has  gradually 
made  his  way  to  far  greater  simplicity  and  far  greater  power.  I would  espe- 
cially name  several  plates  with  dark  hulls  relieved  against  a brilliant  evening 
or  morning  sky,  as  strikingly  effective  and  thoroughly  good  in  workmanship.” — 
Mrs.  Schuyler  van  Rensselaer,  American  Etchers,  p.  17. 


94 


THE  LOWER  BAY 


Height  8,  width  12 

Signed  artist’s  proofs  on  Japan  paper 


$6 


95  NEAR  A FISHING  STATION,  EVENING 

Height  8,  width  12 

Signed  artist’s  proofs  on  Japan  paper 
46 


$6 


Shakespeare,  by  Flameng,  see  No.  98 


96  THE  ATLANTIC  PIER,  BROOKLYN 

Height  10,  width  8 

Signed  artist’s  proofs  on  Japan  paper, 
96A  CASTLE  WILLIAM 

Height  8,  width  12 

Signed  artist’s  proofs  on  Japan  paper, 

97  EVENING 

Height  9%,  width  13)4 
Signed  artist’s  proofs  on  India  paper. 


$6 


$6 


$8 


FLAMENG  (LEOPOLD) 

98  PORTRAIT  OF  SHAKESPEARE  (IN  LIFE  SIZE) 

From  the  Chandos  painting,  now  in  the  National  Portrait  Gallery,  London. 
This  is  probably  the  most  important  portrait  that  has  ever  been  published  in 
the  United  States. 

A portrait  thoroughly  worthy  of  the  subject  has  long  been  needed,  not  only 
here  but  throughout  Europe;  and  the  publishers  having  engaged  the  greatest 
living  reproductive  etcher  to  copy  the  finest  existing  portrait  of  the  poet,  the  re- 
sult is  a plate  which  will  undoubtedly  take  rank  as  a masterpiece,  and  which 
would  adorn  any  library — public  or  private. 

As  an  etcher  of  paintings,  Mr.  Flameng  has  won  all  the  honors  within  the 
reach  of  artists,  including  the  highest  prize  of  all— the  great  Medal  of  Honor 
of  the  Paris  Salon. 

Of  Flameng ’s  powers,  Mr.  Hamerton,  in  Etching  and  Etchers,  writes:  “He 
can  overcome  any  difficulty  that  Rembrandt  himself  could  overcome;  and  it  is 
not  an  exaggeration  of  the  truth  to  affirm  that  there  exists  in  Europe  in  our 
own  day  a man  who  may  be  said  to  possess  the  hand  and  eye  of  Rembrandt.  ’ ’ 

And  of  this  portrait,  Walter  S.  Carter  wrote : “To  say  that  an  etching  is 
worthy  of  Shakespeare,  is  to  utter  the  extreme  of  praise;  but  that  is  what  can 
be  truthfully  said  of  this  masterpiece  of  Flameng:  ’ ’ 

A short  prospectus,  giving  a historical  sketch  of  that  famous  painting,  the 
“Chandos”  portrait  of  Shakespeare,  will  be  mailed,  free,  on  application  to  the 
publishers. 

The  proofs  have  been  printed  by  Chardon  of  Paris,  under  the  direct  super- 
vision of  Monsieur  Flameng. 

The  “remarques”  are  small  portraits  of  Garrick  and  Edwin  Booth,  in  the 


lower  margin  of  the  plate. 

Height  22,  width  17 

Remarque  proofs  on  vellum $75 

Remarque  proofs  on  Japan  paper 50 

Signed  artist’s  proofs  on  Holland  paper 30 

Lettered  impressions 12 

(See  Illustration) 


FOgiLLON  (VICTOR) 

99  THE  HUSH  OF  NIGHT 

From  the  painting  by  J.  F.  Millet.  A distinguished  Boston  critic  writes  of  it 
thus:  “The  etching  is  very  successful.  It  is  a most  delightful  work,  and  full 

49 


of  the  simple  but  deep  feeling  of  poetry  for  which  Millet  is  so  justly  renowned. 
No  sensitive  person  could  stand  before  the  picture  and  not  feel  deeply  moved.  ” 

A midnight  view  of  the  farm-yard  of  the  painter ’s  own  homestead. 


Height  16,  width  19% 

Remarque  proofs  on  India  paper $24 

Signed  artist’s  proofs  on  India  paper 15 

Lettered  impressions 9 


100  A BURGUNDY  TROUT  STREAM 

From  the  etcher ’s  own  design.  A very  striking  evening  effect. 
This  beautiful  plate  was  exhibited  at  the  Paris  Salon. 

Height  13%,  width  12% 

Remarque  proofs  on  Japan  paper $6 


FONCE  (CAMILLE) 

A pupil  of  Lalanne,  Allonge,  and  Collier,  and  one  of  the  very  best  of  the 
younger  French  painter-etchers. 


101  THE  LAKE  (LE  LAC) 

From  the  painting  by  Daubigny.  The  plate  is  of  the  same  size  as  Daubigny’s 
1 1 Solitude,  ’ ’ etched  by  Chauvel. 


Height  15,  width  23 

Remarque  proofs  on  vellum $30 

Signed  artist’s  proofs  on  Japan  paper 15 

(See  Illustration) 


102  THE  DAWN 

A charming  landscape,  early  morning  effect.  The  plate  is  done  in  pure  dry- 

point. 

Height  13%,  width  10 

Remarque  proofs  on  Japan  paper $6 

(See  Illustration) 


103  THE  OLD  BRIDGE 

From  the  painting  by  Corot.  This  beautiful  plate  is  specially  recommended. 
The  original  painting  was  in  the  collection  of  the  eminent  French  critic,  the 
late  Philippe  Burty.  It  represents  the  old  bridge  at  Gretz,  near  Fontainebleau. 
M.  Burty  wrote  of  it : 11  This  is  to  me  one  of  the  most  perfect  of  pictures,  and 
M.  Camille  Fonce  has  etched  it  with  a talent  rarely  shown  by  so  young  an 


etcher  in  rendering  so  great  a master  as  Corot.” 

Height  11,  width  23% 

Remarque  proofs  on  vellum $24 

Remarque  proofs  on  Japan  paper 15 

Signed  artist’s  proofs  on  Japan  paper 8 

50 


The  Lake  of  Como,  by  Gautier,  see  No.  147 


104  LOMBARDY  POPLARS 

A very  effective  landscape,  with  poplar  trees  standing  against  a brilliant 


evening  sky. 

Height  23,  width  16% 

Remarque  proofs  on  Japan  paper $15 

Signed  artist’s  proofs  on  Japan  paper 10 


105  LOMBARDY  POPLARS  (SECOND  STATE) 

The  plate  altered  and  reduced  in  size. 

Height  20%,  width  16% 

Signed  artist’s  proofs  on  India  paper $6 


106  PINE  TREES  AT  AULNAY 

Height  14,  width  8% 

Remarque  proofs  on  Japan  paper $8 

Signed  artist’s  proofs  on  Japan  paper 5 


107  OLD  WILLOWS  AT  SEINE  PORT 

A characteristic  French  landscape,  after  Allonge. 
Height  10%,  width  20y3 

Remarque  proofs  on  India  paper,  signed  by  both 
painter  and  etcher $15 


FOREL  (ALEXIS) 

An  eminent  Swiss  etcher.  Born  at  Morges,  Switzerland,  May  5,  1852.  His  first 
etchings  were  issued  in  1881.  They  are  done  directly  from  nature.  His  etch- 
ings of  architectural  subjects  have  been  especially  commended. 

108  THE  GREAT  OAK  OF  LAUSANNE 

Exhibited  at  the  Paris  Salon,  and  at  the  Royal  Society  of  Painter-Etchers, 

London. 

The  distinguished  Swiss  artist,  Forel,  has  hitherto  been  known  as  a painter. 
He  calls  this  etching  1 1 a portrait  of  a tree.  ” It  is  a study  of  a famous  old 
oak  in  the  environs  of  his  native  city,  and  the  effect  of  summer  sunshine  in  this 
fine  landscape  makes  it  almost  as  decorative  as  a first-class  painting. 

Height  14,  width  21 

Lettered  prints  on  India  paper $6 

109  THE  CATHEDRAL  OF  LAUSANNE 

Exhibited  at  the  Paris  Salon,  and  at  the  Royal  Society  of  Painter-Etchers, 

London. 

It  is  a most  picturesque  sunset  effect.  The  spires,  gables  and  pinnacles  of  the 
cathedral  stand  out  boldly  against  the  glowing  evening  sky.  Lausanne  is 
the  artist’s  native  city.  This  large  and  imposing  etching  has  an  admirable 
effect  when  framed. 

Height  21,  width  15 


Remarque  proofs  on  India  paper $24 

Signed  artist’s  proofs 18 

Lettered  prints 6 


53 


FULLWOOD  (JOHN), 

Born  November,  1854.  He  received  ins  art  training  in  Birmingham  and  in 
Paris.  In  1882  Mr.  Fullwood  and  an  artist  friend  founded  what  is  known  now 
as  the  Newlyn  School.  He  has  exhibited  at  the  Royal  Academy,  The  New 
Gallery,  The  Royal  Society  of  British  Artists,  of  which  he  is  a member,  in 
Paris  and  in  Brussels,  and  was  one  of  the  artists  invited  to  exhibit  at  the  St. 
Louis  Exhibition  to  represent  British  Art.  He  stands  in  the  front  rank  of 
contemporary  landscape  etchers  and  was  elected  a member  of  the  Society  of 
Arts,  London,  in  1905.  He  has  the  honor  of  receiving  a pension  from  the  King 
in  recognition  of  his  attainments  as  a painter  and  an  etcher. 

1 ‘ The  etchings  of  this  rising  young  English  painter  are  specially  recom- 
mended for  framing.  They  are  bold,  strong,  painter-like,  and  thoroughly 
original.  ’ ’ 


110  ROAD  BY  THE  TRENT 

Height  10  y2,  width  14 y2 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 


111  SILVER  BIRCHES 

A companion  plate  to  English  Pines , No.  112. 
Height  1314,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 


112  ENGLISH  PINES 

A companion  plate  to  Silver  Birches,  No.  111. 
Height  13%,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 


113  LALEHAM  MEADOWS 

Height  5VS,  width  7% 

Signed  artist’s  proofs  on  Japan  paper $4 

(See  Illustration) 


114 


THE  LOCK  HOUSE 


Height  5%,  width  7% 


Signed  artist’s  proofs  on  Japan  paper 


$4 


115  ENGLISH  ROAD  AND  RIVER 

Height  6,  width  8 

Signed  artist’s  proofs  on  Japan  paper $4 

(See  Illustration) 

54 


Laleham  Meadows,  by  Fullwood,  see  No.  113 


A River  in  England,  by  Fullwood,  see  No.  117 


The  Thames  near  Old  Windsor,  by  Fullwood,  see  No.  128  Twickenham  Elms,  by  Fullwood,  see  No.  133 


English  Road  and  River,  by  Fullwood,  see  No.  115 


The  Pool,  by  Fullwood,  see  No.  116 


116  THE  POOL 


Height  6,  width  7% 

Signed  artist’s  proofs  on  Japan  paper $4 

(See  Illustration) 

117  A RIVER  IN  ENGLAND 

Height  7%,  width  7% 

Signed  artist’s  proofs  on  Japan  paper $4 

(See  Illustration) 

118  ON  THE  DOWNS 

Height  7,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $3 

119  AN  OARSMAN’S  CAMP 

Height  6%,  width  11 

Signed  artist’s  proofs  on  Japan  paper $4 

120  ON  THE  THAMES 

Height  6y2,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $4 

121  A ROAD  BY  THE  RIVER 

Height  9%,  width  11% 

Signed  artist’s  proofs  on  Japan  paper $5 

122  HEAD  OF  THE  LOCK 

Height  5%,  width  7% 

Signed  artist ’s  proofs  on  Japan  paper $3 

123  IN  HARDY’S  COUNTRY 

Height  7%,  width  5% 

Signed  artist’s  proofs  on  Japan  paper $3 

124  TWICKENHAM  CHURCH 

Height  5%,  width  7% 

Signed  artist’s  proofs  on  Japan  paper $3 

125  THE  THAMES  NEAR  WINDSOR 

Height  5,  width  7% 

Signed  artist’s  proofs  on  Japan  paper $3 

61 


126  HOUSEBOAT  NEAR  WINDSOR 

Height  10,  width  16 

Signed  artist’s  proofs  on  Japan  paper $10 

127  NEAR  WINDSOR 

Height  10,  width  13% 

Signed  artist’s  proofs  on  Japan  paper $10 

128  THE  THAMES  NEAR  OLD  WINDSOR 

Height  14,  width  10 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 

129  SUNSET  ON  THE  THAMES 

Height  5%,  width  7% 

Signed  artist’s  proofs  on  Japan  paper.' $3 

(See  Illustration) 

130  THE  UPPER  THAMES 

Height  6%,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $4 

131  A SAIL  AT  TWILIGHT 

Height  5%,  width  7% 

Signed  artist’s  proofs  on  Japan  paper $3 

(See  Illustration) 

132  TWICKENHAM  COMMON 

Height  6%,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $4 

133  TWICKENHAM  ELMS 

Height  13%,  width  9% 

Signed  artist’s  proofs  on  vellum $7.50 

Signed  artist’s  proofs  on  Japan  paper 5.00 

(See  Illustration) 

134  TWICKENHAM  BUSHES 

Height  6,  width  8 

Signed  artist’s  proofs  on  Japan  paper $3 

62 


Road  by  the  Trent,  by  Fullwood,  see  No.  110 


Silver  Birches,  by  Fullwood,  see  No.  Ill  English  Pines,  by  Fullwood,  see  No.  112 


A Sail  at  Twilight,  by  Fullwood,  see  No.  131 


Sunset  on  the  Thames,  by  Fullwood,  see  No.  129 


135  A GYPSY  CAMP 


Height  14%,  width  25 

Eemarque  proofs  on  Whatman  paper $24 

Signed  artist’s  proofs  on  Whatman  paper 18 

Proofs  before  letters,  unsigned 10 


136  A DEVONSHIRE  HAYFIELD 

A companion  plate  to  No.  137 
Height  13,  width  21% 


137  THE  BELATED  TRAVELER 

A pair  of  fine,  picturesque  subjects  of  equal  size.  From  the  Paris  Salon  and 
London  Royal  Academy  exhibitions. 


Height  13,  width  21% 

Remarque  proofs  on  vellum $36 

Remarque  proofs  on  Japan  paper 24 

Signed  artist’s  proofs  on  India  paper 15 

Lettered  impressions 9 


138  A SCOTTISH  TWILIGHT 

Height  22,  width  12 


Remarque  proofs  on  Holland  paper $18 

Signed  artist’s  proofs  on  Japan  paper 12 


GAREN  (GEORGES) 

Born  in  Paris  February  24,  1854.  A pupil  of  Boussard.  One  of  the  ablest  of 
contemporary  French  etchers. 


139  LE  SOIR,  VILLE  D’AVRAY 

After  the  painting  by  Corot. 

Height  15%,  width  19 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 


140  THE  OLD  HOMESTEAD 

After  the  painting  by  Corot. 

Height  13%,  width  19% 

Remarque  proofs  on  Japan  paper $10 

(See  Illustration) 

69 


141  THE  SEINE  NEAR  PARIS  (AFTER  MESGR1GNY) 

Height  11,  width  18 

Remarque  proofs  on  vellum $15 

Signed  artist’s  proofs  on  Japan  paper 10 


GAUTIER  (LUCIEN) 

Born  at  Aix  January  8,  1850.  His  etchings  after  the  paintings  by  Corot  are 

among  his  best  works. 


142  MORNING 

From  the  painting  by  Corot.  A companion  plate  to  No.  143. 
Height  12%,  width  16 


143  EVENING 

From  the  painting  by  Corot.  A companion  plate  to  No.  142. 


Height  12%,  width  16 

Remarque  proofs  on  vellum $12 

Signed  artist’s  proofs  on  Japan  paper 8 


144  WESTMINSTER  ABBEY  (INTERIOR) 

To  the  whole  Anglo-Saxon  race  Westminster  Abbey  is  unquestionably  the  most 
venerated  building  in  the  world. 

Founded  in  the  year  1049  by  King  Edward  the  Confessor,  and  completed  by 
succeeding  kings,  1 1 The  Abbey  ’ ’ has  stood  for  nearly  a thousand  years  the 
emblem  and  centre  of  much  that  is  greatest  and  noblest  in  the  records  of  Eng- 
land. The  founder  himself  was  buried  there  in  1066,  and  William  the  Con- 
queror had  his  coronation  ceremony  performed  there  in  the  same  year.  Since 
then  every  British  sovereign  down  to  King  Edward  YII  has  been  crowned  in  the 
Abbey;  and  burial  there  has  remained  the  extremest  honor  which  the  nation 
could  bestow  upon  its  illustrious  dead. 

Apart  from  its  historic  interest  the  magnificent  Gothic  architecture  of  West- 
minster Abbey  renders  it  one  of  the  most  notable  churches  in  Europe.  The 
entire  length  of  the  interior  is  511  feet,  and  the  height  from  floor  to  roof  103 
feet. 

Monsieur  Lucien  Gautier’s  view  is  taken  from  the  organ-loft,  about  midway 
in  the  church,  looking  toward  the  southeast  and  taking  in  the  famous  “Poet’s 
Corner,  ’ ’ or  south  transept. 

Height  31,  width  22% 

Signed  artist’s  proofs  on  Whatman  paper $36 

Two  hundred  and  fifty  proofs  only  were  printed  by  Goulding  of  London,  and 
the  plate  was  then  destroyed. 


70 


Le  Soir,  Ville  d’Avray,  by  Garen,  see  No.  139 


145  MORNING  ON  THE  MARNE 

A companion  plate  to  No.  146. 

Height  11%,  width  24 

Remarque  proofs  on  vellum $12 

Signed  artist’s  proofs  on  Japan  paper 8 

146  EVENING  ON  THE  MARNE 

Height  11  %,  width  24 


Remarque  proofs  on  vellum $12 

Signed  artist’s  proofs  on  Japan  paper 8 


147  THE  LAKE  OF  COMO 

From  the  painting  by  Corot.  This  beautiful  plate  won  high  praise  at  the  Paris 
Salon.  It  is  specially  recommended  for  its  fidelity  to  the  original  painting, 
which  is  one  of  Corot ’s  finest. 

Height  15%,  width  22% 


Remarque  proofs  on  vellum $24 

Remarque  proofs  on  India  paper 18 

Signed  artist’s  proofs  on  Japan  paper 12 

(See  Illustration) 


GILBERT  (ACHILLE) 

This  distinguished  artist  is  well  known  as  painter,  etcher,  illustrator,  and  as 
one  of  the  ablest  lithographers  of  the  19th  century. 

148  THE  LADY  IN  THE  BALCONY 

From  the  painting  of  the  same  size  by  Meissonier.  The  “Lady”  does  not 
appear  in  the  picture,  but  she  is  evidently  both  seen  and  admired  by  the  dash- 


ing cavalier  who  stands  below  looking  upward. 

Height  10,  width  5% 

Remarque  proofs  on  vellum $12 

Remarque  proofs  on  Japan  paper 8 

Signed  artist’s  proofs  on  Japan  paper 5 


149  THE  DUELIST 

From  the  painting  of  the  same  size  by  Meissonier.  “In  this  superb  little 
picture  the  great  French  master  is  at  his  best,  and  the  etcher  (who  is  known  as 
one  of  the  most  accurate  draughtsmen  living)  has  faithfully  reproduced  the 


brilliancy  and  fire  of  Meissonier.  ’ ’ 

Height  10,  width  5% 

Remarque  proofs  on  vellum $15 

Remarque  proofs  on  Japan  paper 12 

Signed  artist’s  proofs  on  Japan  paper 8 

73 


150  LA  SORTIE 


From  the  painting  by  Charles  Jacque.  This  large  and  striking  etching  is  one 
of  the  most  important  art-works  of  recent  years.  The  etcher  is  already 
famous,  and  the  renowned  painter,  Charles  Jacque,  took  great  interest  in 
the  plate— retouching  the  etcher’s  work  throughout.  He  was  so  well  pleased 
with  the  result  that  he  supplied  the  ‘ ‘remarque”  with  his  own  hand,  and 
endorsed  a selection  of  the  finest  proofs  with  his  autograph. 

Height  251/,,  width  20% 

Remarque  proofs  on  vellum,  signed  by  both 
painter  and  etcher $150 

Remarque  proofs  on  Japan  paper,  signed  by  both 
painter  and  etcher 120 

Artist ’s  proofs  on  Holland  paper,  signed  by  the 
etcher  40 

Proofs  before  letters,  unsigned 24 

(See  Illustration) 


GLINDONI  (HOWARD) 


151  THE  PURITAN— SWORD  AND  EIBLE 

Painted  and  etched  by  Glindoni,  an  English  artist  of  Italian  descent.  A vivid 
portrayal  of  the  conscientious,  stern,  grim,  fighting  Puritan,  who  loved  liberty 
and  right,  though  he  hated  art  and  elegance  as  much  as  he  hated  oppression. 
This  picture  is  full  of  character. 

Height  12,  width  10 

Remarque  proofs  on  Japan  paper $0 


GRAVESANDE  (CHARLES  STORM  VAN  ’S) 

‘ 1 There  are  few  etchers  in  any  age  who  are  at  the  same  time  simple  in  their 
methods  of  wrork  and  original.  The  proportion  of  such  etchers  at  the  present  day 
is  small  indeed.  . . . The  truth  is,  as  any  one  who  likes  to  try  it  will  soon  dis- 
cover for  himself,  that  the  power  of  etching  simply  and  beautifully  at  the  same 
time  is  very  rare.  It  has  always  seemed  to  me,  and  it  seems  to  me  still,  that 
this  gift  is  the  gift  for  an  etcher. ’’—Philip  Gilbert  Hamerton,  Etching  and 
Etchers,  p.  133. 

“I  find  Gravesande  the  ideal  painter-etcher, — a maker  of  illusions  rather  than 
of  lines — whose  lines  are  so  fused  and  lost  in  the  perfect  whole  that  we  see  and 
feel  what  is  done,  with  never  a thought  for  the  means  wherebjT  it  got  itself  done. 
It  is  a comfort  to  sit  down  before  the  wmrk  of  such  an  artist  as  this.” — John 
Williamson  Palmer,  The  Beauties  and  Curiosities  of  Engraving . 

Note.  In  addition  to  plates  Nos.  152-166  we  have  in  our  present  stock  a 
number  of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and 
of  prices  will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed, 
free,  on  request. 


74 


La  Sortie,  by  Gilbert,  see  No.  150 


The  Cathedral  of  Dordrecht,  Holland,  by  Gravesande,  see  No.  161 


152  ENTRANCE  TO  THE  FOREST 


“It  is  one  of  the  most  impressive  sylvan  subjects  I have  ever  met  with,  and 
at  once  reminds  us  of  Dante.” — Philip  Gilbert  Hamerton,  Etching  and  Etch- 
ers, p.  136. 

Height  10%,  width  17% 

Signed  artist’s  proofs  on  Holland  paper $60 

(See  Illustration) 

153  FELLING  PINE  TREES 

Height  13,  width  20% 

Signed  artist’s  proofs  on  Holland  paper $18 

154  QUAI  AT  ROTTERDAM 

Height  9,  width  14% 

Impressions  on  India  paper  without  title $4 

155  CLIFFS  NEAR  VEULES,  NORMANDY 

Height  13,  width  20% 

Signed  artist’s  proofs  on  Holland  paper $18 

156  OLD  HOUSE  NEAR  KATWYK 

Height  9%,  width  11% 

Signed  artist’s  proofs  on  Holland  paper $18 

157  THE  MILL 

Height  8%,  width  12% 

Impressions  on  Holland  paper $5 

158  MIDDENDUIN 

Height  7%,  width  11% 

Signed  artist’s  proofs  on  Whatman  paper $12 

159  LANDING  OF  THE  HERRING  FLEET 

The  fleet  of  fishing-boats  is  seen  heading  for  the  shore,  where  they  are  beached 
for  unloading.  The  sea  and  the  sky  are  both  very  effective. 

Height  14,  width  18 

Signed  artist’s  proofs  on  Holland  paper $18 

One  hundred  proofs  were  printed  by  Goulding,  of  London,  and  the  plate  was 
then  destroyed. 

(See  Illustration) 

160  FISHING  BOATS,  HOLLAND 

A bold  and  effective  composition  specially  suitable  for  framing. 

Height  18%,  width  13 

Signed  artist’s  proofs  on  Whatman  paper $24 

(See  Illustration) 

79 


161  THE  CATHEDRAL  OF  DORDRECHT,  HOLLAND 

This  is  perhaps  the  most  important  plate  which  the  artist  has  produced.  Its 
powerful  effect  and  large  size  render  it  a rival  to  the  famous  1 1 Calais  Pier  ’ ’ of  Sir 
Sevmour  Haden.  The  church  occupies  the  central  background.  The  character- 
istic Dutch  foreground  is  laid  in  with  broad  and  vigorous  lines,  and  a sky  of 
great  rolling  clouds  crowns  the  picture.  The  famous  London  printer,  Frederick 
Goulding,  printed  120  proofs,  and  the  plate  was  then  destroyed.  Owing  to  the 
high  quality  of  this  limited  edition,  the  value  of  these  proofs  is  almost  certain 
to  increase,  as  the  ‘ 1 Calais  Pier  ’ ’ has  done. 

‘ ‘ Holland  has  produced  in  our  day,  in  the  person  of  Storm  van  ’s  Graves- 
ande,  ore  veritable  master.  His  etchings  and  dry-points  deserve  the  great  repu- 
tation which  they  have  won,  and  he  is  to-day  the  prime  favorite,  perhaps,  with 
American  amateurs.  One  of  his  works,  the  very  large  dry-point  plate  of  the 
Cathedral  of  Dordrecht,  is  in  itself  a refutation  of  the  too-sweeping  assertion 
that  any  plate  of  large  size  must,  of  necessity,  be  bad  as  art.  ” — The  Art  Re- 
view. 

Height  18,  width  25 

Signed  proofs  on  Whatman  paper  (120  only) . . . .$72 
(See  Illustration) 


162  ON  THE  VECHT,  HOLLAND 

A characteristic  Dutch  scene.  The  weather  is  bleak  and  windy,  and  the  picture 
is  full  of  movement. 

This  fine  and  artistic  plate  is  in  direct  contrast  to  some  of  the  artist’s  tran- 
quil scenes,  such  as  the  ‘ 1 Au  Bord  du  Gein.  ’ ’ Being  in  pure  dry-point,  only  a 
limited  number  of  impressions  were  taken,  and  the  plate  was  then  destroyed. 

Height  11%,  width  19 

Signed  proofs  on  Holland  paper $36 

(See  Illustration) 


163  OLD  MILL  AT  DORDRECHT 

Height  13%,  width  20% 


Signed  artist’s  proofs  on  vellum $60 

Signed  artist’s  proofs  on  Japan  paper 36 


164  AN  OLD  OAK 

Height  8%,  width  12% 

Unsigned  proofs  on  Holland  paper $6 

(See  Illustration) 


165  VILLAGE  OF  ZANDVOORT 

Height  11%,  width  9% 

Signed  artist’s  proofs  on  vellum 

Signed  artist’s  proofs  on  Holland  paper 


166 


A SOUVENIR 


Height  5%,  width  9 
Unsigned  proofs  on  India  paper.  . . . 

80 


$24 

12 


$4 


An  Old  Oak,  by  Gravesande,  see  No.  164 


Entrance  to  the  Forest,  by  Gravesande,  see  No.  152 


On  the  Vecht,  by  Gravesande,  see  No.  162 


Landing  of  the  Herring  Fleet,  by  Gravesande,  see  No.  159 


GREATBACH  (WILLIAM) 

He  has  worthily  carried  on  the  traditions  of  the  great  school  of  English  line 

engravers. 


167  THE  YARN-WINDER 

After  the  painting  by  Gerard  Dow.  Engraved  in  pure  line.  A companion  plate 

to  No.  168 

Height  13,  width  10  y2 
(See  Illustration) 


168  AN  OLD  WOMAN  READING 

After  the  painting  by  Gerard  Dow.  A companion  plate  to  No.  167. 

These  are  portraits  of  the  mother  of  the  famous  Dutch  master,  Gerard  Dow, 
who  was  born  in  1613.  He  was  specially  strong  in  portrait-painting,  but  he  has 
left  very  few  portraits,  because  his  slow  and  painstaking  method  exhausted  the 
patience  of  his  sitters.  We  owe  these  quaint  and  picturesque  portraits  to  the 
circumstance  that  the  artist’s  old  mother  was  always  at  hand,  and  therefore 
available  as  a model  for  her  son.  It  is  to  be  remarked  that  some  of  the  finest 
portraits  in  the  world  are  of  the  mothers  of  great  painters. 

Height  13,  width  10 y2 


Proofs  on  India  paper $12 

Lettered  impressions 6 


(See  Illustration) 


HADEN  (SIR  FRANCIS  SEYMOUR) 

President  of  the  Royal  Society  of  Painter-Etchers,  London. 

Born  September,  1818. 

“An  artist  of  rare  endowment  and  consummate  practical  skill. ’’—Philip  Gil- 
bert Hamerton,  Etching  and  Etchers,  p.  294. 

“By  general  consent  Seymour  Haden  ranks  as  the  greatest  of  modern  land- 
scape etchers. ’’—The  Modern  Disciples  of  Rembrandt. 

“But  all  the  English  etchings  pale  before  those  of  Mr.  Seymour  Haden.  It 
certainly  is  he  who  is  the  Master.  He  is  essentially  a landscapist,  and  he  ex- 
presses amazingly  the  transparence  of  still  waters,  the  movement  of  tumultuous 
clouds,  and  the  beautiful  outlines  of  trees  standing  out  against  the  horizon. 
A thorough  artist,  of  broad  ideas,  he  originates  or  adapts  processes  to  translate 
the  more  faithfully  the  impressions  which  he  gets  from  nature,  and  the  results 
which  he  has  obtained  range  from  the  delicate  to  the  superb.  His  velvety 
black  tones  are  as  rich  as  those  of  Rembrandt.  ’ ’ — Paul  Mantz,  Le  Temps, 
August  13,  1889. 

Note.  Special  attention  is  invited  to  our  large  collection  of  Sir  Seymour 
Haden ’s  etchings.  A detailed  list  of  titles  and  of  prices  will  be  found  in  The 
Print  Collector’s  Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 

85 


HELLEU  (PAUL) 

1 ‘ . . . This  brilliant  and  delightful  sketcher  ...  An  hour  or  two  of  strenuous, 
enjoyable,  untired  labor  has  sufficed  for  the  production  of  each  dainty,  each 
masterly  work.  In  an  hour  or  two  the  lady  or  the  child  of  M.  Helleu ’s  choice 
has  found  herself  recorded  on  the  copper— she  and  whatever  accessories  were 
deemed  desirable  to  indicate  her  milieu,  to  place  her  amidst  the  surroundings 
which  assist  in  the  telling  of  her  story.  Edmond  de  Goncourt  calls  his  dry- 
points  ‘ les  instantanes  de  la  grace  de  la  femme,  ’ ‘ snap-shots,  ’ shall  we  translate 
it,  at  the  charm  of  modern  womanhood— the  womanhood  of  the  drawing-room— 
‘snap-shots,’  not  less  often,  at  the  charm  of  refined  childhood.  In  Helleu ’s 
etched  work,  the  connoisseur  will  welcome  what  is  practically  the  complement  of 
the  etched  work  of  Van  Dyck,  who,  in  his  score  or  so  of  plates  (wonderful 
painter  though  he  was  of  women)  undertook  only  the  portraiture  of  certain 
distinguished  men.  . . . 

“ Helleu ’s  etchings  prove  him  to  be  in  sympathy  with  the  most  alert,  which 
is  often  the  most  dignified  and  distinguished  of  modern  youthful  beauty.  I 
know  of  no  plate  of  his  in  which  he  has  realized  the  dignity  of  age  as  Rem- 
brandt realized  it  in  the  etched  portrait  of  his  mother  smiling,  and  in  that  other 
etched  portrait  of  his  mother,  with  a black  veil  and  folded  hands.  But  several 
times  Helleu  has  realized  what  Whistler  realized  in  the  dry-point  of  ‘Fanny 
Leyland’ — the  dignified  beauty,  the  reticent  tenderness,  the  mood,  courageous  or 
contemplative,  of  the  better  order  of  young,  girlhood.  . . . 

“With  M.  Helleu,  beauty— beauty  of  no  conventional  order,  the  rapid  charm 
of  movement,  of  expression,  of  contour — is  the  inspiring  and  satisfactory 
thing.  He  lives  in  its  intimacy.  And  he  reveals  it— much  as  Watteau  did,  yet 
in  ways  how  fearlessly  modern! — to  the  spectator  of  his  work. ’’—Frederick 
Wedmore,  Etching  in  England. 

Note.  It  is  Monsieur  Helleu ’s  custom  to  destroy  all  of  his  copper-plates 
when  an  edition  of  ten  or  twenty  proofs  has  been  printed.  The  work  is  so 
delicate  that  the  plates  would  not  yield  a larger  number  of  perfect  impres- 
sions. In  our  present  stock  may  now  be  seen  many  fine  proofs  of  Monsieur 
Helleu ’s  dry-points.  The  number  of  impressions  printed  of  any  one  subject 
being  so  limited,  no  catalogue  of  titles  has  been  made,  but  visitors  will  be  wel- 
come to  see  the  collection  at  any  time. 


HUBBARD  (E.  F.) 

A pupil  of  Josey,  one  of  the  most  successful  pupils  of  Cousins,  the  last  of  the 
great  mezzotint  engravers  of  the  19th  century. 

169  THE  HON.  MISS  BINGHAM 

From  the  painting  by  Sir  Joshua  Reynolds.  The  portrait  of  Miss  Bingham  is 
considered  one  of  the  most  beautiful  of  Reynolds’  works.  It  has  been  well  ren- 
dered by  Hubbard  and  is  sure  to  take  a high  rank  among  modern  mezzotint 
engravings. 

Height  12,  width  10 

Signed  remarque  proofs  on  India  paper $12 


JACQUE (CHARLES) 

Born  in  Paris,  May  1813.  Died,  May  1894. 

* ‘ Charles  Jacque  can  work,  when  in  the  humor,  in  as  genuine  a way  as  any 
master  whatever.  . . . He  draws  very  admirably  when  the  subject  of  his  draw- 

86 


The  Yarn-Winder,  by  Greatbach,  see  No.  167  An  Old  Woman  Reading,  by  Greatbach,  see  No.  168 


ing  is  one  that  he  has  a great  affection  for;  I have  noticed,  for  instance,  that 
in  his  farm-yards  the  utensils  are  drawn  with  a degree  of  truth  and  precision 
very  unusual  in  art,  and  no  man  ever  drew  poultry  better.  . . . His  deep  and 
sincere  love  of  simple  country-life  gives  a great  charm  to  many  of  his  etchings, 
and  is  entirely  conveyed  to  the  spectator.  A sentiment  of  this  kind  escapes 
analysis,  but  communicates  itself  in  a wonderful,  ineffable  way.  No  artist  ever 
had  the  sentiment  of  rusticity  in  a purer  form  than  Jacque.  . . . He  will  cer- 
tainly be  remembered  as  one  of  the  master  etchers  of  our  time.  ’ ’—Philip  Gil- 
bert Hamerton,  Etching  and  Etchers,  p.  190. 

Note.  In  addition  to  plate  No.  170  we  have  in  our  present  stock  a number 
of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and  of  prices 
will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed,  free,  on 
request. 


170  LA  BERGERIE  BEARNAISE 

This  famous  etching  won  for  M.  Jacque  the  Medal  of  Honor  at  the  Paris 
Exposition  of  1889.  Only  100  impressions  were  printed,  and  the  plate  was 
then  destroyed. 

Signed  artist’s  proofs  (only  state) $100 


JACQUE  (FREDERIC) 

A pupil  of  Cabanel  and  of  his  father,  Charles  Jacque. 


171  LE  RETOUR 

In  a late  evening  landscape  an  old  shepherd  is  seen  conducting  his  flock  home- 
ward. This  etching  attracted  great  notice  at  the  Paris  Salon,  and  was  rewarded 
with  an  “ Honorable  Mention.”  The  painter  of  the  picture,  Charles  Jacque, 
was  so  much  pleased  with  his  son’s  rendering  of  it  that  he  etched  the  beautiful 
little  ‘ 1 remarque  ’ ’ which  appears  on  the  earliest  proofs.  This  remarque  bears  a 
date  fifty-eight  years  later  than  the  famous  master ’s  first  etching. 


Height  1814,  width  24 

Remarque  proofs,  signed  by  both  artists $80 

Artist’s  proofs,  signed  by  the  etcher 40 

(See  Illustration) 


JACQUEMART  (JULES) 

il  Jules  Jacquemart  is  the  most  marvellous  etcher  of  still-life  who  ever  existed 
in  the  world.  In  the  power  of  imitating  an  object  set  before  him  he  has  dis- 
tanced all  past  work,  and  no  living  rival  can  approach  him.  . . . The  beauties 
which  Jacquemart  sees  and  reveals  in  a masterpiece  of  goldsmith ’s  or  lapidary ’s 
work  are  for  the  most  part  imperceptible  by  the  common  eye.  Like  a true  artist 
and  poet,  he  teaches  us  what  to  look  for ; and  we  come  at  last  by  his  guidance  to 

89 


perceive  magic  qualities  in  the  precious  relics  of  the  past,  till  cups  of  crystal 
and  agate,  and  sword-hilts,  or  chalices  of  gold,  are  for  us  themes  of  inex- 
haustible wonder,  objects  of  unwearied  interest  and  contemplation.  ’ ’ — Philip 
Gilbert  Hamerton,  Etching  and  Etchers , p.  183. 

Note.  Special  attention  is  invited  to  our  large  collection  of  Jacquemart ’s 
etchings.  A detailed  list  of  titles  and  of  prices  will  be  found  in  The  Print 
Collector’s  Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 


JONGKIND  (JOHANN  BARTHOLD) 

‘ 1 Jongkind  is  invaluable  to  the  student  of  etching  as  an  example  of  simple  line 
work  pushed  to  its  utmost  extreme.  He  gives  as  few  lines  as  possible,  never 
dissimulating  them.  . . . 1 Could  not  any  child  of  ten  years  old  do  as  well?’ 
The  true  answer  to  this  question  (it  is  not  an  imaginary  question)  is,  that, 
rude  as  this  sketching  looks,  and  imperfect  in  many  respects  as  it  really  is,  the 
qualities  that  belong  to  it  are  never  attained  in  art  without  the  combination  of 
talent  approaching  to  genius,  and  study  of  a very  observant  and  earnest  kind.  ’ ’ 
— Philip  Gilbert  Hamerton,  Etching  and  Etchers,  pp.  128,  130. 


172  THE  PORT  OF  ANTWERP 

This  is  considered  to  be  one  of  the  most  effective  of  Jongkind ’s  plates;  al- 
though seemingly  coarse,  it  has  a strong  effect  when  framed. 

Height  6,  width  9% 

Impressions  on  Japan  paper $5 


173  AN  OUTER  BOULEVARD,  PARIS 

Height  5%,  width  9% 

Impressions  on  India  paper $3 


174  WINDMILL  AT  ROTTERDAM 

Height  5%,  width  7*4 

Impressions  on  Holland  paper $3 


175  THE  COAST  OF  HOLLAND 

Height  8%,  width  12% 

Impressions  on  India  paper $4 


176  THE  TOWN  OF  MAASLINS 

Height  8%,  width  12% 

Impressions  on  India  paper $4 

Note.  The  above  copper-plates  by  Jongkind  were  purchased  by  Storm  van  ’s 
Gravesande,  and  presented  to  the  Amsterdam  Museum.  No  more  impressions 
will  be  printed. 


90 


JOSEY  (RICHARD) 

A celebrated  English  mezzotint  engraver. 

177  THE  ARTIST’S  CHILD 

From  the  original  by  Greuze  in  the  National  Gallery,  London. 


Height  11,  width  8% 

Remarque  proofs  on  India  paper $24 

Signed  artist’s  proofs  on  India  paper 18 

Lettered  impressions  on  India  paper 9 

Lettered  impressions  on  plain  white  paper 6 


JOURDAIN  (HENRI) 

An  eminent  water  color  artist  of  the  modern  French  school. 


178  A TROUT  POOL 


Height  12,  width  16 
Remarque  proofs  on  vellum 


$15 


KRUELL (GUSTAV) 

Born  in  Dusseldorf,  1842.  After  serving  an  apprenticeship  to  a die-sinker  and 
general  engraver  he  went  to  Leipsic  and  later  was  himself  an  engraver  in  Stutt- 
gart. In  1873  he  came  to  America  and  in  1881  he  organized  with  his  friend, 
Frederick  Juengling,  The  Society  of  American  Wood-Engravers.  He  died  in 
1906. 

1 1 Mr.  Gustav  Kruell  is  an  engraver  of  portraits,  whose  method  is  in  a great 
■degree  that  of  a painter  of  portraits.  His  sensibility  to  the  higher  qualities  of 
portraiture  is  equal  to  that  of  the  best  endowed  painter  of  portraits,  and  he 
owes  to  this  fact  the  intense  sympathy  with  which  he  interprets  the  subtle 
modeling  and  the  elusive  denotements  of  character  and  vitality  that  he  finds 
in  his  subjects.  He  is  not  a reproducer  of  brush-marks,  or  of  the  texture  of 
thick  or  thin  pigment,  but  he  is  the  strongest  engraver  of  the  portrait  in  its 
highest  and  broadest  sense  that  we  have.” — William  M.  Laffan. 


179  PORTRAIT  OF  GENERAL  SHERMAN 

“I  think  it  a very  good  likeness  of  the  General  in  his  later  years. ’’—John 
Sherman. 

‘ ‘ G.  Kruell ’s  portrait  of  General  Sherman  may  well  be  rated  the  greatest 
work  of  this  artist  and  the  highest  achievement  in  wood-engraving.  The 
Nation. 

Height  11,  width  9 

Signed  artist’s  proofs $20 


180  PORTRAIT  OF  ABRAHAM  LINCOLN 

* 1 This  extraordinary  print  of  Lincoln  is,  we  do  not  hesitate  to  say,  destined  to 
be  the  historic  likeness  of  the  first  President  of  our  free  republic.  It  is  based 
upon  the  same  photograph  which  Rajon  etched  in  an  unsatisfactory  way  a little 
before  his  death,  and  which  St.  Gaudens  used  in  modelling  the  bust  of  the 
sculptured  Lincoln— that  at  Chicago.  But  Mr.  Kruell  has  also  wrought  into  it 
fhe  contemporary  life-mask,  and  has  invested  the  whole  with  that  interpretation 

91 


of  character  which  distinguishes  his  portraits  from  those  of  any  other  artist. 
It  is  easy  to  say  of  the  result  that  it  will  efface  any  portrait  of  Lincoln  in  black 
and  white,  hitherto  produced,  that  may  be  placed  beside  it;  but  it  is  hard  to 
describe  in  words  the  refinement  and  breadth  of  treatment,  sureness  of  aim, 
harmony  of  modelling  and  of  chiaroscuro,  realism  in  the  essential  traits  of 
physiognomy  and  legendary  ideality  of  expression  and  sentiment  which  nothing 
has  yet  approached.  The  quality  of  the  portrait  as  a whole  is  not  only  masterly, 
but  old-masterlyj  and  as  for  the  technique,  it  is  a surprising  advance  even  on 
the  incomparable  series  enumerated  above.  It  is  a definitive  challenge,  by  the 
head  of  the  new  school  of  American  wood-engraving,  to  all  other  modes  and 
schools  of  engraving  to  show  cause  why,  in  the  estimation  of  connoisseurs  and 
in  commercial  value,  the  most  popular  medium  of  pictorial  art  should  not  also 
be  the  most  precious  and  the  most  sought  after  in  its  highest  achievements.  ’ ’— 
New  Yorlc  Evening  Post. 

Height  10,  width  8 

Signed  artist’s  proofs  $20 


181  PORTRAIT  OF  ABRAHAM  LINCOLN.  (THE  PORTRAIT  WITH  THE  BEARD) 
Height  11%,  width  8% 

Signed  artist’s  proofs $20 


182  PORTRAIT  OF  DANIEL  WEBSTER 

“It  was  but  in  March  last  that  we  noticed  Mr.  G.  Kruell’s  surpassing  wood 
portrait  of  Lincoln,  and  now  we  have  before  us  a Webster  from  the  same  cun- 
ning hand,  on  an  even  larger  scale  (12  x 10y2),  and  in  point  of  technique— what 
we  should  not  have  thought  possible— perhaps  even  more  to  be  admired.  The 
tone  of  this  engraving  is  brighter  than  that  of  Lincoln,  yet  there  is  a sober 
gravity  in  the  countenance  which  fully  expresses  the  weight  of  the  lawyer  and 
statesman.  The  view  is  a front  one;  the  mouth  firmly  closed,  the  eyes  shaded 
in  their  cavernous  recesses.  We  cannot  yet  say— 

‘From  those  great  eyes 
The  soul  hath  fled’; 

but  the  age  depicted  cannot  be  far  from  Webster’s  end.  The  modelling  of  the 
face  is  extraordinarily  minute,  divining  and  interpreting  the  features  of  the 
original  daguerreotype;  but  the  treatment  is  equally  broad,  harmonious,  unified^ 
and  in  no  other  one  of  the  series  of  Kruell’s  portraits  is  the  brushlike  and 
plastic  quality  of  his  art  more  manifest.  We  said  deliberately  of  the  Lincoln 
that  it  was  destined  to  be  the  historic  likeness  of  the  President,  for  never  had 
that  homely  face  been  treated  before  with  so  much  sympathy  and  poetry,  and  at 
the  same  time  so  authentically.  The  Webster  is  not  less  calculated  to  cast  all 
previous  prints  in  the  shade.  To  the  legal  profession,  apt  to  cherish  the  por- 
traits of  its  great  luminaries,  it  must  commend  itself  at  sight.  Connoisseurs 
of  engraving,  on  their  part,  will  esteem  it  among  the  highest  productions  of 
the  present  or  any  other  period. ’’—The  Nation. 

Height  12,  width  10% 

Signed  artist’s  proofs $20 


183  PORTRAIT  OF  JAMES  RUSSELL  LOWELL 

The  original  of  this  portrait  is  a photograph  taken  by  Pach  early  in  1891.  It 
is  considered  by  his  family  and  most  intimate  friends  as  the  best  likeness  extant,, 
and  a most  satisfactory  presentation  of  the  poet  in  his  later  years. 

Height  9,  width  6% 

Signed  artist’s  proofs $10 


92 


Under  the  Old  Oaks,  by  Lafond,  see  No.  187 


Le  Retour,  by  Jacque,  see  No.  171 


A Sheepfold,  by  Chassinat,  see  No.  71 


The  Shepherd  and  Flock,  by  Lesigne,  see  No.  194 


184  PORTRAIT  OF  GENERAL  GRANT 


Height  11,  width  8 
Signed  artist’s  proofs 


$20 


185  PORTRAIT  OF  NATHANIEL  HAWTHORNE 

Height  8%,  width  6% 

Signed  artist’s  proofs $10 

186  PORTRAIT  OF  HARRIET  BEECHER  STOWE 

Height  9 %,  width  7% 

Signed  artist’s  proofs $15 


LAFOND  (PAUL) 


187  UNDER  THE  OLD  OAKS 

After  Charles  Jaeque.  A fine  bold  landscape,  specially  recommended. 

The  painter,  J aeque,  very  rarely  consented  to  sign  proofs  of  etchings  done  from 
his  pictures ; but  he  was  so  well  pleased  with  this  one  that  he  signed  fifty  proofs 
of  it. 

Height  17,  width  23% 

Eemarque  proofs  signed  by  both  painter  and 


etcher  (50  only)  on  vellum $40 

Signed  artist’s  proofs  on  Japan  paper 20 

(See  Illustration) 


LALANNE  (MAXIME) 

“Maxime  Lalanne  is  the  first  artist  who  ever  received  knighthood  for  his 
qualities  as  an  etcher.  When  the  King  of  Portugal  conferred  upon  him  the 
Order  of  Christ,  it  was  expressly  in  recognition  of  the  value  of  his  etchings ; but 
the  King  of  Portugal  is  an  etcher  himself,  and  knows  good  work  when  he 
sees  it. 

"No  one  ever  etched  so  gracefully  as  Maxime  Lalanne.  This  merit  of  grace- 
fulness is  what  chiefly  distinguishes  him;  there  have  been  etchers  of  greater 
power,  of  more  striking  originality,  but  there  has  never  been  an  etcher  equal 
to  him  in  a certain  delicate  elegance,  from  the  earliest  times  till  now. 

"He  is  also  essentially  a true  etcher;  he  knows  the  use  of  the  free  line,  and 
boldly  employs  it  on  due  occasion.” — Philip  Gilbert  Hamerton,  Etching  and 
Etchers,  p.  177. 

Note.  In  addition  to  plates  Nos.  188-189  we  have  in  our  present  stock  a 
number  of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and 
of  prices  will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed, 
free,  on  request.  (See  page  3.) 


97 


188  THE  CANAL 


This  fine  etching  is  specially  recommended. 
Height  6%,  width  9 % 

Impressions  on  India  paper,  without  title $6 

(See  Illustration) 

189  ENVIRONS  OF  PARIS 

Height  8%,  width  11% 

Impressions  on  India  paper,  without  title $5 


LEGROS  (ALPHONSE) 

“Born  at  Dijon  nearly  sixty  years  ago,  Legros  has  been  amongst  us  since  1863. 
But  it  is  not  English  life— or,  indeed,  any  life— that  has  made  him  what  he  is. 
. . . He  has  been  fed  on  the  Renaissance,  and  fed  on  Rembrandt;  but  yet  the 
originality  of  his  mind  pierces  through  the  form  it  has  pleased  him  to  impose 
on  its  expression.  He  gives  to  masculine  character  nobility  and  dignity. 
Frederick  Wedmore,  Fine  Prints,  p.  126. 

Note.  In  addition  to  plates  Nos.  190-191  we  have  in  our  present  stock  a 
number  of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and 
of  prices  will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed, 
free,  on  request.  (See  page  3.) 


190  PORTRAIT  OF  M.  J.  DALOU 

Height  8%,  width  6 

Signed  artist’s  proofs  on  Japan  paper $30 

(See  Illustration) 


191  PORTRAIT  OF  SIR  EDWARD  J.  POYNTER,  P.R.A. 

‘ 1 It  will  be  in  part  by  such  masculine,  yet  refined  and  graceful,  portraits  as 
those  of  M.  Dalou  and  Mr.  Poynter,  such  subtle  ones  as  that  of  Cardinal  Man- 
ning . . . that  Legros  will  stand  high.  ’ ’ — Frederick  Wedmore,  Four  Masters 
of  Etching,  p.  42. 

Height  8%,  width  6% 

Signed  artist’s  proofs  on  Japan  paper $30 

(See  Illustration) 


LESIGNE  (LEOPOLD) 

A pupil  of  Le  Rat. 


192  LE  SOIR 


After  the  painting  by  Anton  Mauve. 
Height  8%,  width  6% 


Signed  artist’s  proofs  on  Japan  paper 
98 


$3 


Sir  Edward  J.  Poynter,  by  Legros,  see  No.  191  M.  J.  Dalou,  by  Legros,  see  No.  190 


* 


193  WINTER 


After  the  painting  by  Anton  Mauve. 

Height  5%,  width  8% 

Remarque  proofs  on  vellum $5 

194  THE  SHEPHERD  AND  FLOCK 

After  the  painting  by  Anton  Mauve. 


Height  17,  width  12 

Remarque  proofs  on  vellum $20 

Signed  artist’s  proofs  on  Japan  paper 10 

(See  Illustration) 


195  WASHING  THE  LINEN 

After  the  painting  by  J.  F.  Millet. 
Height  9 %,  width  7 


Remarque  proofs  on  vellum $10 

Remarque  proofs  on  Holland  paper 5 


LOS  RIOS  (RICARDO  DE) 

A distinguished  painter  and  etcher,  born  at  Valladolid,  in  Spain,  1846. 
Resident  in  Paris. 

The  plates  197  and  199  won  for  the  artist  three  gold  medals,  at  Munich,  the 
Paris  Salon,  and  the  Paris  Exposition  respectively. 


196  LA  FANEUSE 

From  the  painting  by  Lerolle. 

Height  22,  width  16 

Remarque  proofs  on  vellum,  signed  by  painter 


and  etcher $45 

Signed  artist’s  proofs  on  Japan  paper 18 


197  CURIOSITY 


From  the  painting  by  Passini.  A characteristic  scene  in  Venice.  A crowd  of 
picturesque  Venetians  are  seen  eagerly  looking  over  the  parapet  of  a bridge  at 
an  approaching  gondola.  The  great  attraction  in  the  gondola  is  left,  however, 
to  our  imagination,  as  only  the  prow  is  visible. 

Height  24%,  width  15 


Remarque  proofs  on  vellum $48 

Remarque  proofs  on  Japan  paper 36 

Signed  artist’s  proofs  on  Japan  paper 18 


101 


198  MANOLA 


From  the  painting  by  Gomez.  A lively  Spanish  tambourine  girl. 
Height  8,  width  5% 


Remarque  proofs  on  vellum $7.50 

Remarque  proofs  on  Japan  paper 5.00 


199  THE  FISHERMAN’S  DAUGHTER  (TRAVAILLEUSE  DE  LA  MER) 

This  very  beautiful  plate  has  won  three  gold  medals.  It  is  from  the  painting 
by  Charles  Sprague  Pearce  of  Boston,  and  was  etched  by  the  kind  permission 
of  the  owner,  the  late  Mrs.  John  Jacob  Astor  of  New  York. 


Height  22,  width  17% 

Remarque  proofs  on  vellum  (100  only),  signed  by 
painter  and  etcher $60 


Signed  artist’s  proofs  on  Japan  paper 24 

(See  Illustration) 


200  UNE  PRELUDE 

Full-length  seated  figure  of  a simply  dressed  Spanish  girl  playing  a guitar  in 
an  old  tavern.  This  is  an  excellent  framing  subject. 

Etched  from  the  painting  of  Charles  Sprague  Pearce  of  Boston,  which  won 
a medal  at  the  Paris  Salon,  where  the  etching  of  Los  Rios  was  also  exhibited. 


Height  14,  width  11 

Signed  artist’s  proofs  on  vellum $15 

Signed  artist’s  proofs  on  Japan  paper  10 


MacLAUGHLAN  (DONALD  SHAW) 

1 1 The  work  of  Mr.  Donald  Shaw  MacLaughlan,  a native  of  Boston,  and  since  he 
became  a painter-etcher,  acclimated  in  France,  is  already  very  numerous, 
varied  and  of  a sustained  interest,  of  a persistent  talent.  This  work  embraces 
visions  of  old  Paris,  churches,  bridges,  quays  along  the  Seine  and  corners  of 
Bievre,  souvenirs  of  Italy:  Florence,  Pavia,  Tivoli,  Parma,  Perugia,  Venice, 
Bologna,  and  several  beautiful  evocations  of  the  Port  of  Boulogne  and  of  the 
cathedral  of  Rouen.  At  Paris,  his  plates  of  ‘ Saint  Sulpice,  ’ of  the  ‘ Pont 
St.  Michel,  ’ of  ‘ St.  Severin,  ’ of  ‘ St.  Julien-le-Pauvre,  ’ his  ‘ Tannerie,  ’ 
his  1 Cour  des  Gobelins  ’ ; at  Rouen,  his  1 Fleche  ’ and  his  1 Tour  de  Beurre  ’ 
are  prints  of  rare  worth  which  belong  in  some  sort  to  the  mastery  of  Meryon, 
with  their  solid  architectural  construction,  their  clearly  defined  values,  the 
capricious  originality  of  the  skies  and  of  the  waters  treated  with  a light  fan- 
tasy which  contributes  to  the  harmony  of  the  whole.” — Octave  Uzane,  The 
Etchings  of  D.  Shaw  MacLaughlan. 

”D.  Shaw  MacLaughlan  is  an  accomplished  young  artist  who  first  studied  in 
the  usual  academic  courses,  but  has  found  in  the  art  of  etching  a form  of 
expression  far  more  suited  to  his  artistic  bent.  Deeply  conscious  of  the  tower- 
ing greatness  of  Rembrandt,  Diirer  and  the  older  masters  of  line,  he  has  set 
himself  the  task  of  learning  all  in  his  power  of  the  good  that  appeals  to  him 
in  the  works  of  such  great  men.  It  follows  that  such  devoted  enthusiasm  to  an 
ideal  is  bound  to  produce  good  work ; Mr.  MacLaughlan  has  proved  this  already 
by  his  many  cnarming  and  vigorously  original  plates.  A well-known  exhibitor 

102 


The  Dawn,  by  Fonce,  see  No.  102  The  Locust  Grove,  by  Manley,  see  No.  201 


A Quiet  Harbor,  by  Manley,  see  No.  210 


An  Old  Bridge,  Lake  George,  by  Manley,  see  No.  204 


both  in  America  and  Europe,  honours  and  medals  have  already  come  to  him.  In 
such  an  accomplished  artist  and  conscientious  student  of  good  etching,  great 
things  may  be  expected  from  his  clever  hand  in  the  years  to  come.” — Will 
Jenkins,  Modern  Etching  and  Engraving  in  America. 

Note.  Mr.  MacLaughlan ’s  etchings  have  been  shown  at  the  Salon  des 
Artistes  Frangais,  the  Salon  des  Champs  de  Mars,  the  Pan-American  Exposi- 
tion, in  1901  (when  they  earned  for  the  artist  a silver  medal),  and  are  repre- 
sented in  the  collection  of  prints  at  the  Bibliotheque  Nationale,  Paris.  His 
etchings  have  also  been  published  in  the  Bevue  de  L’Art  (January  10,  1903), 
the  Gazette  des  Beaux  Arts  (July,  1903),  and  L’Art  (June,  1903). 

Note.  We  are  glad  to  announce  that  this  distinguished  artist  has  appointed 
us  the  publishers  of  his  etchings  for  the  United  States.  A detailed  list  of  titles 
and  of  prices  of  such  etchings  as  can  be  supplied  will  be  found  in  The  Print 
Collector’s  Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 


MANLEY  (THOMAS  R.) 

Born  in  Buffalo,  N.  Y.,  1853.  Studied  at  the  Pennsylvania  Academy  of 

Pine  Arts. 


201  THE  LOCUST  GROVE 

Height  9%,  width  8 % 
Signed  artist’s  proofs  on  Japan  paper 
(See  Illustration) 


$12 


202  NOVEMBER 

Height  8%,  width  12 

Signed  artist’s  proofs  on  Japan  paper $12 


203 


THE  MILL  FEED 


Height  6%,  width  9 
Signed  artist’s  proofs  on  Japan  paper 


$5 


204  AN  OLD  BRIDGE,  LAKE  GEORGE 

Height  6%,  width  18% 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 


205  A QUIET  NOOK 

Height  15,  width  8 

Signed  artist ’s  proofs  on  J apan  paper $6 


206  A LOW  MEADOW 

Height  9Vs,  width  12% 
Signed  artist’s  proofs  on  Japan  paper. 

107 


$10 


207  SOUTHPORT 


Height  8%,  width  19% 

Signed  artist’s  proofs  on  Japan  paper $12 

208  A BRIDGE  IN  CENTRAL  PARK 

Height  12%,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $10 

209  ON  LONG  ISLAND  SOUND 

Height  6%,  width  19% 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 

210  A QUIET  HARBOR 

A companion  to  No.  209 
Height  6%,  width  18% 

Signed  artist’s  proofs  on  Japan  paper $10 

(See  Illustration) 

211  LATE  AUTUMN 

Height  16,  width  20 

Signed  artist’s  proofs  on  Japan  paper $15 

212  EARLY  SPRING 

Height  13,  width  19 

Signed  artist’s  proofs  on  Japan  paper $15 

213  NEAR  SAG  HARBOR 

Height  12%,  width  18% 

Signed  artist’s  proofs  on  Japan  paper $12 

214  THE  TIDE  MILL 

Height  6%,  width  18% 

Signed  artist’s  proofs  on  Japan  paper $10 

215  THE  MILL  POND 

Height  13%,  width  19 

Signed  artist’s  proofs $12 

216  LAKE  PEIGNEUR,  LOUISIANA 

After  the  painting  by  Joseph  Jefferson.  Mr.  Joseph  Jefferson  might  have  be- 
come famous  as  a landscape  painter  had  he  not  devoted  his  artistic  powers  to 

108 


the  drama.  1 ‘ Lake  Peigneur  ” is  a characteristic  bit  of  scenery  taken  from  the 
great  actor ’s  estate  in  Louisiana.  Fifty  selected  proofs  bear  the  autograph  of 
Mr.  Jefferson  as  well  as  that  of  the  etcher. 

Mr.  Manley  has  been  most  successful  in  rendering  the  original. 

Height  12,  width  20 

Proofs  signed  by  painter  and  etcher  (50  only) . . .$20 


217  SOURCE  OF  THE  SUSQUEHANNA 

Height  12%,  width  18 

Remarque  proofs  on  Japan  paper $10 


218  THE  MEADOW  BROOK 

Height  4%,  width  6 
Signed  artist’s  proofs  on  Japan  paper 


$3 


MARTIAL  (ADOLPHE  P.) 

Born  in  Paris,  1828 ; died  1883. 

1 1 Monsieur  Martial ’s  labors  have  developed  great  manual  skill.  He  has  mas- 
tered, and  mastered  long  ago,  the  technical  difficulties  of  etching,  so  as  to  ex- 
press himself  fully  in  the  art  without  being  hampered,  as  less  accomplished  men 
are  hampered,  by  the  torturing  sense  that  they  are  saying  less  than  they  mean 
or  something  else  than  the  thing  they  mean. ’’—Philip  Gilbert  Hamerton, 
Etching  and  Etchers , pp.  214,  215. 


219  LES  CANCALAISES 

Etched  from  the  painting  by  Feyen-Perrin  in  the  Luxembourg  Gallery,  Paris. 

The  oyster  beds  of  Caneale  on  the  French  coast  are  a carefully  protected 
private  property.  But  on  a certain  day  yearly,  during  the  autumn  low  tides,  all 
the  people  of  the  district  are  allowed  by  a liberal  old  custom,  to  gather  as  many 
oysters  as  they  can  carry  away.  The  sale  of  these  oysters  affords  to  the  Can- 
calaise  women  almost  the  only  1 1 pin  money  ’ ’ they  receive  during  the  year.  Rich 
ladies  sometimes  join  the  peasantry  in  their  annual  procession. 

M.  Feyen-Perrin ’s  painting  appeared  at  the  Salon  in  1874,  when  it  won  a 
medal,  and  was  purchased  by  the  State,  and  the  artist  received  the  decoration  of 
the  Legion  of  Honor.  Mr.  Hamerton  writes  of  him,  in  Etching  and  Etchers: 
1 ‘ He  has  much  true  natural  sympathy  for  the  pathos  of  a hard  life,  especially  as 
it  touches  woman;  so,  whilst  many  of  his  brethren  were  painting  the  demi- 
monde of  Paris,  Feyen-Perrin  went  to  study  a nobler  though  less  elegant  kind 
of  a life  on  the  seashore.  ’ ’ 

Of  the  etcher,  A.  P.  Martial,  Hamerton  says  in  the  same  work:  “His  tech- 
nical skill  is  extraordinary,  and  a few  years  ago  he  had  scarcely  an  equal  in 
this  kind  of  ability.  ’ ’ 

Height  13%,  width  19% 


Remarque  proofs  on  Japan  paper $45 

Unsigned  proofs  18 


109 


MASSARD  (LEOPOLD) 

Born  in  Paris,  1812;  died  1889.  A nephew  of  the  celebrated  line  engraver 
Jean  Baptiste  Raphael-Urbain  Massard. 


220  A HARD  SUM 

From  the  painting  by  Geoffroy. 


Height  10%,  width  8% 

Remarque  proofs  on  vellum $8 

Signed  artist’s  proofs  on  Holland  paper 4 


MERYON (CHARLES) 

Born  in  Paris,  November  23,  1821.  Died  February  14,  1868. 

* ‘ The  case  of  Charles  Meryon  is  one  of  those  painful  ones  which  recur  in  every 
generation,  to  prove  the  fallibility  of  the  popular  judgment.  Meryon  was  one 
of  the  greatest  and  most  original  artists  who  have  appeared  in  Europe;  he  is 
one  of  the  immortals;  his  name  will  be  inscribed  on  the  noble  roll  where  Diirer 
and  Rembrandt  live  forever.  . . . Meryon  was  sorely  tried  by  public  and  na- 
tional indifference,  and  in  a moment  of  bitter  discouragement  he  destroyed  the 
most  magnificent  series  of  his  plates.  When  we  think  of  the  scores  of  mediocre 
engravers  of  all  kinds,  who,  without  one  ray  of  imagination,  live  decently  and 
contentedly  by  their  trade,  and  then  of  this  rare  and  sublime  genius  actually 
ploughing  deep  burin  lines  across  his  inspired  work,  because  no  man  regarded 
it ; and  when  we  remember  that  this  took  place  in  Paris,  in  our  own  enlightened 
nineteenth  century,  it  makes  us  doubt  whether,  after  all,  we  are  much  better 
than  savages  or  barbarians. ’’—Philip  Gilbert  Hamerton,  Etching  and  Etch- 
ers, pp.  167,  168. 

Note.  Special  attention  is  invited  to  our  large  collection  of  Meryon ’s  etch- 
ings. A detailed  list  of  titles  and  of  prices  will  be  found  in  The  Print  Col- 
lector’s Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 


MILLET  (JEAN-FRANQOIS) 

Born  October  4,  1814.  Died  January  20,  1875. 

“A  man  who  had  given  his  whole  life  to  etching  only,  who  had  never  thought 
of  painting,  and  had  never  cared  for  those  effects  proper  to  painting  and  not  to 
etching,  could  not  have  been  more  truly  and  markedly  a born  etcher  than  Millet 
showed  himself  to  be— few  though  were  the  plates  and  many  though  were  the 
canvases  he  worked  upon.  To  depend  upon  lines,  not  tones,  for  expression;  to 
make  every  line  ‘ tell,  ’ and  to  use  no  more  lines  than  are  absolutely  needed  to 
tell  exactly  what  he  wants  to  say ; to  speak  strongly,  concisely,  and  to  the  point ; 
to  tell  us  much  while  saying  little;  to  suggest  rather  than  to  elaborate,  but  to 
suggest  in  such  a way  that  the  meaning  shall  be  very  clear  and  individual  and 
impressive — these  are  the  things  the  true  etcher  tries  to  do.  And  these  are  the 
things  that  Millet  did  with  a more  magnificent  power  than  any  man,  perhaps, 
since  Rembrandt.  Other  modern  etchings  have  more  charm  than  his — none 
have  quite  so  much  feeling.  Others  show  more  grace  and  delicacy  of  touch — 

110 


The  Passing  Storm,  by  Moran,  see  No.  224 


An  August  Day,  by  Moran,  see  No.  221 


none  show  more  force  or  certainty,  and  none  a more  artistic  ‘ economy  of 
means.’  ’’—Mrs.  Schuyler  van  Rensselaer,  J ean-Frangois  Millet;  Fainter- 
Etcher. 

Note.  Special  attention  is  invited  to  our  large  collection  of  Millet’s  etch- 
ings. A detailed  list  of  titles  and  of  prices  will  be  found  in  The  Print  Col- 
lector’s Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 


MORAN  (PETER) 

“But  our  finest  etchings  of  this  sort,  I should  say,  are  those  of  Mr.  Peter 
Moran.  Three  that  I have  recently  seen — one  showing  cattle  in  a storm,  an- 
other cattle  crossing  a summer  brook,  and  a third,  sheep  in  a shady  spring-time 
pasture— are  truly  remarkable  works.  They  are  very  elaborate  in  treatment, 
yet  they  show  that  valuable  kind  of  artistic  discretion  which  knows  where  to 
stop.  They  are  not  in  any  place  over-elaborate — that  is,  there  is  never  any 
elaboration  for  the  sake  of  elaboration  merely,  never  any  effort  to  ‘finish’  for 
the  mere  sake  of  finishing.  Even  in  their  most  closely  worked  passages  every 
line  is  most  beautifully  placed  and  full  of  meaning,  and  there  are  other  pas- 
sages, finely  harmonized  with  the  more  detailed,  where  the  untouched  paper  is 
wisely  left  to  play  its  part.  They  are,  in  short,  true  etchings,  if  very  elaborate 
ones— etchings  wrought  with  a true  respect  for  the  intrinsic  capabilities  of  the 
art,  and  a true  and  very  masterly  command  over  its  processes.  Their  technical 
qualities  have  won  the  very  highest  praise  in  Paris,  where,  if  anywhere,  good 
etching  is  understood  and  prized.  And  their  pictorial  qualities  are  yet  so  great 
that  the  eye  most  ignorant  of  etching  must  be  charmed  by  them.  If  we  will 
ask  for  ‘pictures’  from  our  etchers,  we  should  indeed  rejoice  when  they  give 
them  to  us  of  so  complete  a kind,  and  yet  with  so  much  of  the  intrinsic  charm  of 
etching,  properly  so  called,  as  does  Mr.  Peter  Moran. ’’—Mrs.  Schuyler  van 
Rensselaer,  American  Etchers,  p.  27. 

The  renowned  French  painter,  Jules  Breton,  on  seeing  Peter  Moran ’s  pair  of 
etchings  in  Paris,  asked  in  surprise  whose  works  they  were.  The  answer  given 
him  was,  ‘ ‘ An  American.  ” “ Why,  they  are  admirable,  ’ ’ said  he.  ‘ ‘ The  man 
who  etched  those  plates  is  a master!”  Later,  Jules  Breton  sent  to  America  and 
procured  them  for  his  own  collection,  writing  a most  complimentary  letter  to 
the  artist  about  them. 

Note.  In  addition  to  plates  Nos.  221-228  we  have  in  our  present  stock  a 
number  of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and 
of  prices  will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed, 
free,  on  request.  (See  page  3.) 


221  AN  AUGUST  DAY 

The  large  size  and  rich  effect  of  this  etching  render  it  as  decorative  as  a 

fine  painting. 

Height  15%,  width  23  ^ 

Remarque  proofs  on  vellum  (with  double  re- 


marque)  $36 

Remarque  proofs  on  Japan  paper 30 

Signed  artist’s  proofs  on  Japan  paper 20 

(See  Illustration) 

113 


222  GOING  TO  THE  FAIR 

Although  Mr.  Peter  Moran  is  best  known  through  his  original  work,  yet  in  this 
instance  he  has  etched  the  work  of  a brother  artist.  The  result  is  very  fine.  In 
a large  landscape,  full  of  variety,  the  flocks  and  herds  are  seen  wending  their 
way  to  the  adjoining  town. 

Height  15%,  width  24% 


Eemarque  proofs  on  vellum $50 

Eeinarque  proofs  on  Japan  paper 35 


223  AN  OLD  NEW  ENGLAND  ORCHARD  (WITH  A FLOCK  OF  SHEEP) 


Height  12,  width  18 

Eemarque  proofs  on  Whatman  paper $24 

Signed  artist’s  proofs  on  Japan  paper 18 


224  THE  PASSING  STORM  (CATTLE  IN  A LANDSCAPE) 

“ In  ‘ The  Passing  Storm  ’ cattle  pace  leisurely  over  a sunny,  finely  rendered 
foreground,  while  behind  them  comes  the  somber  march  of  bursting  rain  clouds. 
Very  different  is  the  ‘New  England  Orchard,’  glittering  with  sunlight,  where  a 
flock  of  sheep  graze  beneath  the  apple  boughs.  This  is  worth  study  as  an 
example  of  tact  in  omission.  The  etcher  has  carried  his  work  far  enough;  he 
has  not  enfeebled  his  plate  by  over-elaboration.  Eipley  Hitchcock. 


Height  12,  width  18 

Eemarque  proofs  on  vellum $36 

Eemarque  proofs  on  Japan  paper 24 

Signed  artist’s  proofs  on  Japan  paper 18 

(See  Illustration) 


225  RETURN  OF  THE  HERD 

Height  5,  width  10% 

Signed  proofs  on  Japan  paper $10 

226  RETURN  OF  THE  FLOCK 

Height  6%,  width  15 

Signed  proofs  on  Japan  paper $15 

227  SANTA  BARBARA  MISSION,  CALIFORNIA 

Height  11%,  width  19% 

Signed  artist’s  proofs  on  Japan  paper $15 


228  A ROMAN  CHARIOT  RACE  IN  THE  COLISEUM 

After  the  painting  by  A.  Wagner.  Etched  in  collaboration  with 
Stephen  J.  Ferris. 

Height  8%,  width  22% 

Impressions  on  Japan  paper, 

114 


$6 


Low  Tide,  Bay  of  Fundy,  by  Parrish,  see  No.  235 


Fishermen’s  Houses,  Cape  Ann,  by  Parrish,  see  No.  234 


. 


NICHOLS  (MISS  CATHERINE  M.) 

The  paintings  of  Miss  Catherine  Nichols  are  well  known  to  those  who  visit  the 
exhibitions  at  the  Royal  Academy,  London.  Her  plates  are  done  in  pure  dry- 
point,  and  are  vigorous  presentations  of  English  landscape  or  architecture.  She 
is  also  a writer  of  high  merit. 


229  A SUMMER  EVENING,  ENGLAND 

Height  7,  width  10 

Signed  artist’s  proofs,  printed  by  Goulding  (50 
only)  $7 


230  A GARDEN  AT  LOURDES,  FRANCE 

Height  10,  width  7 

Signed  artist’s  proofs,  printed  by  Goulding  (50 
only)  $7 


231  AN  ENGLISH  VILLAGE 

Height  6%,  width  9 y2 

Signed  artist’s  proofs,  printed  by  Goulding  (50 
only)  $7 

232  REEDS 

A fine  effect  of  a lake  at  sunset  seen  through  a foreground  of  reeds. 
Height  4%,  width  10 

Signed  artist’s  proofs,  printed  by  Goulding  (50 
only)  $5 


NICOLL  (J.  C.) 

The  well-known  painter.  Member  of  the  National  Academy  of  Design. 

“Mr.  Nieoll  is  another  artist  worthy  of  all  attention.” — Mrs.  Schuyler  van 
Rensselaer,  American  Etchers,  p.  20. 

233  AN  EVENING  IN  AUGUST 

Height  16,  width  22% 

Remarque  proofs  on  Japan  paper $18 


PALMER  (SAMUEL) 

‘ 1 During  twenty  years,  Samuel  Palmer ’s  work  has  become  for  me  more  and 
more  beautiful,  more  and  more  abundantly  satisfying.  It  is  so  tender  as  to 
remind  us  of  all  that  is  softest  and  sweetest  in  the  heart  of  pastoral  nature, 
and  yet  so  learned  that  it  seems  as  if  some  angel  had  met  the  artist  in  his 
studious  solitude  and  taught  him.  Imaginations  graceful  as  a maiden’s  dream, 

117 


but  without  her  ignorance;  teachings  profounder  than  those  of  science,  yet 
without  their  pedantry;  a serene  spirit  inherited  from  the  true  and  great  poets 
of  the  times  of  old,  who  are  his  fathers — all  these  he  gives  us  with  his  art.  The 
beautiful  sentence  in  which  Samuel  Palmer  described  the  excellence  of  Claude  is 
accurately  descriptive  of  his  own  excellence,  and  I would  have  said  of  him,  if  I 
had  known  how  to  write  anything  so  good:  ‘His  execution  is  of  that  highest 
kind  which  has  no  independent  essence,  but  lingers  and  hesitates  with  the 
thought,  and  is  lost  and  found  in  a bewilderment  of  beauty.’  ” — Philip  Gil- 
bert Hamerton,  j Etching  and  Etchers , pp.  328,  329. 

Note.  Special  attention  is  invited  to  our  collection  of  Palmer’s  etchings. 
A detailed  list  of  titles  and  of  prices  will  be  found  in  The  Print  Collector’s 
Bulletin , which  will  be  mailed,  free,  on  request.  (See  page  3.) 


PARRISH  (STEPHEN) 

“Mr.  Parrish  is  one  of  the  most  sincere  and  straightforward  of  living  etch- 
ers.’’—Philip  Gilbert  Hamerton. 

‘ ‘ Mr.  Stephen  Parrish,  whom  I should  put,  with  Mr.  Gifford  and  Mr.  Farrer 
and  Mrs.  Moran,  in  the  very  first  rank  of  home-keeping  etchers,  is  the  most 
popular  of  them  all. ’’—Mrs.  Schuyler  van  Rensselaer,  Etching  in  America. 

“Stephen  Parrish  is  an  etcher  whose  work  teems  with  interest  regardless  of 
the  particular  subject  dealt  with.  Whether  he  is  rendering  the  clear  sunlight  of 
Pennsylvania  or  the  deeper  notes  of  the  lower  Canadian  Provinces,  his  style  is 
always  full  of  interest  and  rich  in  every  line  and  mass.  No  American’s  work 
shows  more  forcibly  how  this  country  abounds  in  good  subjects.  . . . Mr.  Par- 
rish is  one  of  the  men  who  has  been  able  to  both  see  and  feel  the  greatness  of 
the  old  master-etchers,  and  to  grasp  their  technical  methods  with  sufficient 
understanding  to  enable  him  to  practice  on  any  theme  with  equal  force  and 
enthusiasm.  ’ ’—Will  Jenkins,  Modern  Etching  and  Engraving  in  America. 


234  FISHERMEN’S  HOUSES,  CAPE  ANN 

Height  12,  width  19 

Signed  artist’s  proofs  on  Japan  paper $36 

(See  Illustration) 


235  LOW  TIDE,  BAY  OF  FUNDY 

“Nothing  that  Mr.  Parrish  has  done  seems  to  me  more  vigorous  than  his  ‘Low 
Tide,  Bay  of  Fundy.’  with  the  strong  line  of  stranded  vessels  outstanding 
against  a brilliant  sky,  balanced  by  quaint  houses  on  the  shore,  and  with  another 
touch  in  the  expressive  figures  on  the  beach.  ’ ’ — Ripley  Hitchcock. 

Height  12,  width  19 

Signed  artist’s  proofs  on  Japan  paper $36 

(See  Illustration) 


236  EVENING  ON  THE  SCHROON 

Height  7%,  width  15% 

Signed  artist’s  proofs  on  Japan  paper $15 

Unsigned  proofs  on  Japan  paper 6 


237  THE  CANAL  AT  TRENTON,  N.  J. 

Height  5Y2,  width  8% 
Signed  artist ’s  proofs  on  Japan  paper 
118 


$5 


Tower  Bridge,  by  Pennell,  see  No.  295 


Dock  Head,  by  Pennell,  see  No.  259 


Thames  from  Richmond  Hill,  by  Pennell,  see  No.  293 


Lincoln’s  Inn  Fields,  by  Pennell,  see  No.  273 


238  MILL  AT  INSPECK 


Height  8%,  width  11% 

Signed  artist’s  proofs  on  India  paper $8 


PARRISH  (THOMAS  C.) 

239  GEORGETOWN,  VIRGINIA 

A fine,  effective  etching,  showing  the  river  and  bridge. 
Height  6%,  width  11% 

Signed  artist’s  proofs  on  Holland  paper $5 


PENNELL  (JOSEPH) 

Born  in  Philadelphia,  July  4th,  1860.  Studied  at  the  Pennsylvania  Academy 
of  Fine  Arts.  His  first  etchings,  of  Philadelphia  scenes,  were  done  in  1880.  In 
1884,  he  went  to  Europe,  and  has  since  then  resided  chiefly  abroad.  Concerning 
Mr.  Pennell’s  etched  work  an  authority  of  high  repute  has  given  his  opinion 
thus:  “In  whatever  he  does  he  is  always  the  artist ; and  now  that  Whistler  is 
dead  and  Sir  Seymour  Haden  no  longer  etching,  I consider  that  the  ablest 
painter-etcher  now  living  and  working  is  unquestionably  Joseph  Pennell.” 

Note.  The  following  is  a list  of  the  etchings  by  Mr.  Pennell  which  are 
obtainable  at  the  present  time.  All  are  signed  artist ’s  proofs,  and  the  plates  of 
all  have  been  destroyed.  In  addition  to  the  etchings  named,  the  publishers  can 
supply  proofs  of  certain  plates  of  the  Philadelphia  Series  (1880-1884),  the 
New  Orleans  Series  (1882),  the  Italian  Series  (1884),  the  London  Series 
(1891),  and,  in  some  cases,  proofs  of  Mr.  Pennell’s  etchings  in  Spain  and 
France,  together  with  proofs  of  unpublished  plates  of  the  New  York  Series  and 
of  the  new  London  etchings.  A detailed  list  of  titles  and  of  prices  will  be  found 
in  The  Print  Collector’s  Bulletin,  which  will  be  mailed,  free,  on  request.  (See 
page  3.) 


THE  NEW  YORK  SERIES 

1 1 These  recent  etchings  of  Mr.  Pennell ’s  are  instinct  with  the  quality  which 
both  Whistler  and  Sir  Seymour  Haden  have  always  maintained  to  be  the  prime 
•characteristic  of  the  best  painter-etching— namely,  spontaneity;  and  what 
Whistler  wrote  a few  years  ago  about  Mr.  Pennell’s  Spanish  lithographs  might 
with  equal  truth  be  said  of  these  ‘ sky  scrapers  ’ : 1 There  is  a crispness  in  their 
execution,  and  a lightness  and  gaiety  in  their  arrangement  as  pictures,  that 
belong  to  the  artist  alone.  ’ . . . 

“Mr.  Pennell  certainly  has  discerned  art  in  their  ‘sky  scrapers,’  and  so 
competent  a judge  as  Mr.  F.  Marion  Crawford,  on  seeing  these  etchings,  made 
the  pithy  remark,  ‘I  see  that  you  have  made  Architecture  of  the  New  York 
buildings.’  He  has,  and  yet  he  has  depicted  them  truly. ’’—Frederick  Keppel, 
Mr.  Pennell’s  Etchings  of  New  YorTc  “ STcy  Scrapers.” 

Average  size:  Height  11,  width  8 
Signed  artist’s  proofs $12 


123 


240  PARK  ROW 

241  THE  «L”  AND  THE  TRINITY  BUILD- 

ING 

242  FOUR  STORY  HOUSE 

243  GOLDEN  CORNICE  (100  BROAD- 

WAY) (see  Illustration) 

244  UNION  SQUARE  AND  THE  BANK  OF 

THE  METROPOLIS 


245  TIMES  BUILDING  AND  42ND  STREET 

246  FORTY-SECOND  STREET  (see  Illus- 

tration) 

247  LOWER  BROADWAY 

248  “THE  HOLE  IN  THE  GROUND” 

( 16TH  STREET  AND  5TH  AYE.) 


THE  LONDON  SERIES 

“All  this  elaboration  is  in  the  interest  of  the  total  effect,  and  the  total  effect 
is  always  magnificently  atmospheric.  The  drawing  of  the  buildings  has  the 
beauty  and  strength  of  structure,  and  at  the  same  time  it  is  suffused  by  the  air 
and  the  light  and  the  dark.  No  one  has  so  splendidly  rendered  the  different 
effects  of  sunlight  on  stone,  the  tired,  dull  glare  of  the  late  afternoon,  the  bril- 
liant hard  white,  the  ivory  softness,  and  the  glorifying  vagueness  of  the  play  of 
light  and  shade  on  the  fluting  of  columns  and  the  carving  of  the  capitals.  And 
these  etchings  excel  in  suggesting  the  quality  of  surfaces,  skies,  water,  foliage, 
the  stone  of  the  museums  and  churches,  the  brick  of  the  Chelsea  house  fronts. 
In  composition  they  have  always  a distinction  and  a surprise  that  comes  from 
the  happy  point  of  view.  It  is  a composition  that  gives  to  its  glimpse  of  the 
scene  a new  unity  in  unexpected  relations;  and  the  fact  that  the  scenes  are 
always  reversed,  through  the  artist’s  habit  of  putting  the  thing  as  he  sees  it 
directly  on  the  plate,  takes  nothing  from  their  beauty.  Among  the  most  beau- 
tiful are  ‘Classic  London — St.  Martin Vin-the-Fields, ’ ‘St.  Paul’s,’  ‘Lindsay 
Row,’  ‘Westminster  Abbey— West  Front,’  ‘The  Tower  Bridge,’  ‘The  British 
Museum,  ’ and  ‘ Hampton  Court  Palace.  ’ The  ‘ classic  ’ part  of  London  is  Pen- 
nell’s  own.  And  so,  indeed,  are  the  palaces  and  the  abbey.  He  has  had  no 
predecessor  there  as  he  had  on  the  Thames.  And  nothing  could  be  more  appro- 
priate to  these  subjects  than  the  infinite  delicacy  and  restraint  of  their  elabora- 
tion.’’—Walter  Conrad  Arensberg,  Mr.  Pennell’s  Etchings  of  London. 

Average  size:  Height  12,  width  7% 

Signed  artist’s  proofs $12 


249  ADMIRALTY 

250  BRIDGE  STREET,  WESTMINSTER 

251  CRYSTAL  PALACE 

252  CHEYNE  WALK,  CHELSEA 

253  CLASSIC  LONDON,  ST.  MARTIN’S- 

IN-THE-FIELDS 

254  COLISEUM  FROMTRAFALGAR  SQUARE 

255  CUMBERLAND  GATE 

256  CUMBERLAND  TERRACE,  REGENT’S 

PARK 

257  CANNON  STREET  STATION  FROM 

THE  RIVER 

258  CHURCH  OF  ST.  MARY-LE-STRAND 

259  DOCK  HEAD  (see  Illustration) 

260  ENTRANCE  TO  HENRY  VII  CHAPEL, 

WESTMINSTER  ABBEY  (see  Illustra- 
tion) ; all  sold 

261  GREENWICH  PARK,  NUMBER  ONE 

262  GREENWICH  PARK,  NUMBER  TWO 

263  GREAT  COLLEGE  STREET 

264  GREAT  GATE,  LINCOLN’S  INN 

2b5  GREAT  CRANES,  SOUTH  KENSING- 
TON 


266  GOTHIC  CROSS,  CHARING  CROSS 

267  GOLDSMITH’S  GRAVE,  THE  TEMPLE 

268  GUILD  HALL 

269  HOUSE  WHERE  WHISTLER  DIED 

270  HAYMARKET  THEATRE 

271  HEMPSTEAD  PONDS 

272  LINDSAY  ROW 

273  LINCOLN’S  INN  FIELDS  (see  Illustra- 

tion) 

274  LUDGATE  HILL,  SHOWING  THE 

HOLBORN  VIADUCT 

275  LONDON  BRIDGE  STAIRS 

276  LEADENHALL  MARKET 

277  LAST  OF  OLD  LONDON 

278  MARBLE  ARCH 

279  NUMBER  230,  STRAND 

280  NARROW  STREET 

281  ON  CLAPHAM  COMMON 

282  OLD  COURT,  LINCOLN’S  INN 

283  QUEEN  ANNE’S  MANSION  FROM 

THE  LAKE 

284  ROSSETTI’S  HOUSE 


124 


Westminster  Abbey,  by  Pennell,  see  No.  299  St.  Paul’s,  by  Pennell,  see  No.  290 


St.  Paul’s,  the  West  Door,  by  Pennell,  see  No.  291 


‘The  Golden  Cornice,”  by  Pennell,  see  No.  243  42nd  Street,  New  York,  by  Pennell,  see  No.  246 


285  ROYAL  ENTRANCE,  VICTORIA  TOWER 

286  ST.  BARTHOLOMEW’S  GATE 

287  ST.  BARTHOLOMEW’S,  THE 

FOUNDER’S  TOMB 

288  ST.  CLEMENT  DANE’S 

289  ST.  DUNSTAN’S,  FLEET  STREET 

290  ST.  PAUL’S  (see  Illustration)  ; all  sold 

291  ST.  PAUL’S,  THE  WEST  DOOR  (see 

Illustration) 

292  THAMES  AT  RICHMOND 


PEIRCE  (MISS  EDITH  LORING).  (MRS.  GETCHELL) 

‘ 1 Essentially  a practitioner  of  the  brilliant  uses  of  line,  the  work  of  Edith  Lor- 
ing  Getchell  is  vigorous,  original  and  effective  without  affectation.  . . . Her 
hand  is  particularly  sympathetic  to  all  that  is  beautiful  in  foliation  and  growth 
of  trees,  atmospheric  or  climatic  conditions  of  light,  and  those  subtleties  of 
nature  best  adapted  to  expression  with  the  point. ’’—Will  Jenkins,  Modern 
Etching  and  Engraving  in  America. 


293  THAMES  FROM  RICHMOND  HILL 

(see  Illustration) 

294  THAMES  WHARF 

295  TOWER  BRIDGE  (see  Illustration) 

296  TRAFALGAR  SQUARE 

297  VALE  OF  HEALTH,  HAMPSTEAD 

298  WHITEHALL  COURT 

299  WESTMINSTER  ABBEY,  WEST 

FRONT  (see  Illustration) 


300  THE  ROAD  TO  THE  BEACH, 

“Her  ‘Road  to  the  Sea,  Nonquitt,  Massachusetts,’  was  one  of  the  American 
plates  at  the  Paris  Salon.  It  is  very  simple  in  theme— merely  a stretch  of  low 
coast  land  with  a few  scattered  shrubs  and  a white  road  stretching  away  to- 
wards the  slightly-lifted  horizon  line.  But  a great  deal  has  been  told  in  this 
simplicity.  The  very  spirit  of  such  a scene  is  caught  and  given.  Even  without 
the  title  we  should  know  that  there  was  salt  in  the  air  and  the  sea  at  the  end  of 
the  road. ’’—Mrs.  Schuyler  van  Rensselaer,  American  Etchers,  p.  26. 

Height  6,  width  17% 

Signed  artist’s  proofs  on  Japan  paper $8 


PLATT  (CHARLES  A.) 

In  the  opinion  of  competent  judges  this  distinguished  artist  ranks  among  the 
few  real  masters  of  original  etching.  Born  and  bred  in  New  York,  and  having 
studied  his  art  here  also,  his  landscapes,  marines,  and  water-side  views  will  bear 
comparison  with  the  works  of  the  greatest  living  etchers. 

“In  the  foremost  group  of  American  painter-etchers  stands  the  work  of 
Charles  A.  Platt.  Distinguished  alike  for  vigorous  brilliancy  and  richness  of 
effect,  it  shows  that  he  has  every  variety  of  technical  means  at  his  disposal  and 
is  a master  of  each  in  some  special  way.  Exceptionally  gifted  with  versatility, 
he  has  employed  his  skill  in  many  different  directions.  ’ ’ — Will  Jenkins,  Mod- 
ern Etching  and  Engraving  in  America. 

“Mr.  Platt’s  work  is  specially  noticeable  for  its  variety.  He  is  not  one  of 
those  artists,  who,  having  once  succeeded  with  a subject,  go  on  repeating  varia- 
tions on  the  same  theme  to  the  end  of  their  lives.  Each  successive  production 
of  his  is  something  genuinely  original  and  not  an  echo  of  something  which  he 
has  done  already.  He  is  equally  well  known  through  his  paintings  and  aqua- 
relles as  by  his  etchings.  ’ ’ 

‘ ‘ At  the  exhibition  just  named  the  honors  were  certainly  divided  by  Mr.  Platt 
and  Mr.  Parrish.  To  which  of  them  seemed  due  the  larger  share  was  a question 
which  depended  greatly  upon  individual  tastes — was  a question  of  contrast  be- 
tween different  qualities  rather  than  a question  of  more  and  less  as  regarded 
the  same  qualities.  . . . Mr.  Platt  had,  in  truth,  arrived  at  a mastery  over  his 
art.  ...  I do  not  mean  a mastery  of  its  technical  resources,  a mastery  in  hand, 
so  much  as  a mastery  in  eye  and  thought.  He  had  known  precisely  what  he 

131 


wanted  to  do,  and  precisely  what  to  do  and  what  to  leave  undone  in  order  to 
succeed.  And  the  leaving  of  things  undone  is  no  small  part  of  the  artist ’s  task 
with  such  a craft  as  etching.  In  the  great  art  of  omitting  Mr.  Platt  is  in  truth 
accomplished,  and  this  is  what  gave  his  prints  their  simplicity,  their  harmony, 
their  breadth  and  unity  of  effect. ’’—Mrs.  Schuyler  van  Rensselaer,  Ameri- 
can Etchers,  pp.  24,  25. 

Note.  In  addition  to  plates  Nos.  301-322  we  have  in  our  present  stock  a 
number  of  other  subjects  by  this  eminent  etcher.  A detailed  list  of  titles  and 
of  prices  will  be  found  in  The  Print  Collector’s  Bulletin,  which  will  be  mailed, 
free,  on  request.  (See  page  3.) 


301 


SPRING  FLOOD 


Height  13,  width  18% 
Signed  artist ’s  proofs  on  Japan  paper 


$18 


302  AN  INLAND  PORT 

One  of  Mr.  Platt ’s  very  best  works — which  is  saying  a great  deal. 
Height  11%,  width  19% 

Signed  artist’s  proofs  on  Japan  paper $18 


303  THE  CHARLES  RIVER 

Height  6%,  width  14% 

Signed  artist’s  proofs  on  Holland  paper $8 


304  WILLI AMSBURGH,  FROM  THE  EAST  RIVER  BRIDGE 

Height  6%,  width  9 

Signed  artist’s  proofs $8 

(See  Illustration) 


305  BASS  RIVER,  CAPE  COD 

Height  9,  width  17 

Signed  artist’s  proofs $12 


306  A CORNER  OF  PORTLAND,  NEW  BRUNSWICK 

Height  10,  width  8 

Signed  artist’s  proofs  on  Japan  paper $8 


307  NAPLES 


Height  5,  width  7% 
Signed  artist’s  proofs 


.$8 


308  RYE,  SUSSEX 

Height  6%,  width  9% 
Signed  artist’s  proofs  on  India  paper. 


.$10 


132 


Buttermilk  Channel,  by  Platt,  see  No.  309 


WlLLIAMSBURGH,  BY  PLATT,  SEE  No.  304 


309 

310 

311 

312 

313 

314 

315 

316 

317 

318 

319 


BUTTERMILK  CHANNEL 

Height  6%,  width  10% 

Signed  artist’s  proofs 

(See  Illustration) 

MUD  BOATS  ON  THE  THAMES 

Height  6%,  width  11% 
Signed  artist’s  proofs 


$15 


$9 


LANNION 

Height  6%,  width  11% 
Signed  artist’s  proofs 


TROUVILLE 


Height  6%,  width  9% 
Signed  artist’s  proofs 


OLD  WAREHOUSE,  DORDRECHT 

Height  10%,  width  16% 
Signed  artist’s  proofs 

PIER  AT  LARMOR 

Height  8%,  width  14% 
Signed  artist ’s  proofs 

THE  QUAY  AT  HAVRE 

Height  7%,  width  13% 
Signed  artist’s  proofs 

A BRITTANY  LANDSCAPE 

Height  8%,  width  11% 
Signed  artist ’s  proofs 


LOW  TIDE,  HONFLEUR 

Height  4%,  width  6 
Signed  artist’s  proofs 

UNDER  THE  PONT  MARIE,  PARIS 

Height  5,  width  8% 
Signed  artist’s  proofs 

ST.  GERVAIS,  PARIS 

Height  8%,  width  5% 
Signed  artist’s  proofs 


$15 


$12 


$18 


$12 


$15 


.$12 


$10 


$10 


$10 


135 


320  INNER  PORT,  TROUVILLE 

Height  6%,  width  9 % 
Signed  artist ’s  proofs 

321  BROOKLYN  BRIDGE 

Height  6%,  width  11 
Signed  artist’s  proofs 


322  THE  DREDGE 


Height  6%,  width  13% 
Signed  artist ’s  proofs 


$10 


$10 


$12 


PHILLIPS  (G.  H.) 

323  PORTRAIT  OF  SIR  WALTER  SCOTT 

Engraved  in  mezzotint  in  1864  after  the  painting  by  C.  R.  Leslie,  R.A. 

This  portrait  was  painted  for  Archibald  Constable,  Sir  Walter  Scott ’s  publisher. 

Height  12%,  width  10 

Open  letter  proofs  on  India  paper $15 


PROPERT  (J.  LUMSDEN) 

Mr.  Propert  has  long  been  known  as  a very  successful  amateur  etcher. 

An  edition  limited  to  50  proofs  of  plates  Nos.  324-329  is  now  for  the  first 
time  formally  published.  They  have  been  carefully  printed  by  Frederick  Gould- 
ing  of  London,  and  each  proof  bears  the  signature  of  the  artist. 


324  GREENWICH 

Height  8,  width  14 

Signed  artist’s  proofs $12 

325  KEW  BRIDGE 

Height  7,  width  12 

Signed  artist’s  proofs $12 


326  THE  TOWER  OF  LONDON 

Height  11%,  width  18 

Signed  artist’s  proofs $18 


327  THE  RIVER  SEVERN 


Height  5%,  width  9% 
Signed  artist’s  proofs 


$9 


136 


Alfred  Tennyson,  by  Rajon,  see  No.  332 


328  CHISWICK 


Height  7,  width  12 

Signed  artist’s  proofs $12 

329  ROMNEY 

Height  7,  width  12 

Signed  artist’s  proofs $12 

330  SAN  GIORGIO,  VENICE 

Oval.  Height  8,  width  6 

Signed  artist’s  proofs $6 

331  LA  SALUTE,  VENICE 

Height  8y2,  width  5 

Signed  artist’s  proofs $6 


RAJON  (PAUL) 

With  the  sole  exception  of  Rembrandt,  Raj  on  was  probably  the  greatest  portrait 
etcher  who  ever  lived;  but,  unlike  Rembrandt,  most  of  this  modern  master’s 
plates  were  done  from  originals  by  other  artists.  He  was,  however,  an  accom- 
plished portrait  painter  also,  and  some  of  his  best  etchings  were  from  his  own 
designs.  One  of  the  finest  of  these  is  his  large  portrait  of  Tennyson.  It  is 
probably  the  best  existing  portrait  of  the  great  poet. 

Rajon  died  at  his  beautiful  home  near  Paris,  on  the  8th  of  June,  1888. 

332  PORTRAIT  OF  ALFRED  TENNYSON 

This  portrait  was  taken  while  the  great  poet  was  still  hale  and  vigorous.  Its 
wonderful  fidelity  as  a likeness,  combined  with  its  high  artistic  qualities,  have 
given  it  in  England  (and  here  also)  the  rank  of  being  the  best  portrait  of  Ten- 
nyson. 

In  the  Life  of  Lajon,  by  F.  GL  Stephens,  the  author  writes  of  Rajon ’s  “de- 
lightful and  inexhaustible  skill  in  working  with  pure  line,”  and  cites  the  por- 
trait of  Tennyson  as  being  “simply  one  of  the  finest  specimens  of  modern 


draughtsmanship.  ’ ’ 

Height  15%,  width  12 

Signed  artist’s  proofs  on  vellum $75 

Signed  artist’s  proofs  on  Japan  paper 60 

Unsigned  proofs  on  India  paper 18 

(See  Illustration) 

333  ROSALIE 


Head  of  a child,  done  in  soft-ground  etching. 
Height  9%,  width  7% 

Impressions  without  the  title $3 


334  NINETTE 


Head  of  an  Alsatian  girl,  printed  in  red. 
Height  9%,  width  7 

Impressions  without  the  title 


139 


$6 


335  PORTRAIT  OF  MEISSON1ER 

This  plate  was  etched  at  Meissonier’s  special  request,  from  his  own  painting, 
and  it  will  certainly  take  rank  as  the  best  portrait  of  the  great  French  master. 


Height  11,  width  8 % 

Signed  artist’s  proofs  on  Japan  paper $20 

Unsigned  proofs  6 


RAMUS  (EDMOND) 

Member  of  the  French  Academy. 


336  AN  ALGERIAN  VILLA 

From  the  painting  by  F.  A.  Bridgman.  Born  in  New  York,  but  now  estab- 
lished in  Paris,  Mr.  Bridgman  has  done  distinguished  honor  to  American  art. 
In  Paris  he  has  had  high  official  recognition — even  to  the  extent  of  receiving 
the  Cross  of  the  Legion  of  Honor. 

Height  15%,  width  21 

Remarque  proofs  on  vellum,  signed  by  painter 


and  etcher  (60  only) $30 

Signed  artist’s  proofs  on  Japan  paper 15 


RIPPL-RONAI 

337  PORTRAIT  OF  FRANZ  LISZT 

This  portrait  of  the  great  musician  was  painted  one  year  before  his  death  by 
his  great  compatriot,  Munkacsy.  It  will  undoubtedly  take  rank  as  the  standard 
portrait  of  Liszt.  Munkacsy ’s  painting  is  etched  by  another  Hungarian  artist, 
Rippl-Ronai.  The  40  proofs  on  vellum  bear  Munkacsy ’s  autograph  as  well 
as  the  etcher’s. 

Height  14%,  w’idth  11% 

Remarque  proofs  on  vellum,  signed  by  painter 


and  etcher  (40  only) $30 

Lettered  impressions  5 


RODRIGUEZ  (GASTON) 

One  of  the  best  French  reproductive  etchers. 

338  NAPOLEON  ON  HORSEBACK 

The  etching  represents  the  principal  figure  in  Horace  Yernet’s  large  picture  (in 
the  Versailles  Gallery)  of  the  Battle  of  Marengo.  Unlike  many  other  portraits 


of  Napoleon,  this  one  was  painted  from  life. 

Height  11%,  width  $% 

Remarque  proofs  on  vellum $12 

(The  remarque  is  a small  portrait  of  Josephine.) 

Signed  artist’s  proofs  on  Japan  paper 6 

140 


Sewing  Lesson,  by  Rodriguez,  see  No.  340  La  Becquee,  by  Rodriguez,  see  No.  341 


339  THE  TANGLED  SKEIN 


Prom  the  painting  by  Seignac. 

Height  14,  width  11 

Eemarque  proofs  on  vellum,  signed  by  painter 


and  etcher $15 

Signed  artist’s  proofs  on  Japan  paper 6 


340  THE  SEWING  LESSON 

This  pretty  etching  is  a veritable  novelty,  being  done  from  the  almost  unknown 
but  very  beautiful  painting  by  J.  F.  Millet. 

This  great  French  master’s  pictures  have  of  late  become  almost  as  well 
known  through  various  reproductions  as  are  those  of  Raphael  himself;  but 
“The  Sewing  Lesson” — one  of  Millet’s  finest  works — has  never  before  been 
reproduced  in  engraving  or  etching.  The  artist,  suiting  the  handling  to  the 
subject,  has  treated  it  with  an  unusual  degree  of  grace  and  daintiness.  This 
etching  had  the  distinction  of  being  first  publicly  exhibited  at  the  Paris  Salon. 


Height  20,  width  1 5% 

Remarque  proofs  on  vellum $30 

Signed  artist’s  proofs  on  Japan  paper 15 

(See  Illustration) 


341  LA  BECQUEE 

This  important  plate  is  from  the  beautiful  painting  by  J.  F.  Millet  in  the 
museum  at  Lille,  which  ranks  as  one  of  the  master ’s  very  finest  pictures. 

A peasant  woman  is  seated  outside  and  facing  the  door  of  a farm-house,  on 
the  step  of  which  are  seated  three  little  children  whom  she  is  feeding  with  a 
wooden  spoon.  The  very  title  is  poetical,  signifying  the  action  of  a young  bird 
in  the  nest,  that  opens  its  mouth  to  be  fed. 

Height  23,  width  18  y2 

Remarque  proofs  on  vellum  (60  only) $40 

Remarque  proofs  on  Japan  paper  (60  only) 30 

( See  Illustration ) 


342  THE  FISHERMAN’S  FAMILY 

From  the  painting  by  Jameson.  A young  woman  stands  on  the  seashore  with 
her  two  children,  while  the  fisherman  is  seen  coming  toward  them  from  his 
vessel. 

Height  19,  width  15 

Remarque  proofs  on  vellum,  signed  by  painter 
and  etcher $30 

Remarque  proofs  on  Japan  paper,  signed  by 
painter  and  etcher 20 

Signed  artist’s  proofs 12 


343  LA  MERE  TANISSE 

From  the  painting  by  Marie  Lavieille.  In  the  quaint  interior  of  a French 
peasant’s  house  an  old  woman  is  seated  by  the  fire,  at  work  with  her  needle. 

Height  10,  width  12 
Remarque  proofs  on  Japan  paper 
143 


$8 


344  BANKS  OF  THE  MARNE 


After  the  painting  by  Karl  Daubigny.  A beautiful  landscape,  delicately  etched. 


Height  8,  width  13  % 

Kemarque  proofs  on  Japan  paper $8 

Signed  artist’s  proofs  on  Japan  paper 4 


RUET  (LOUIS) 

345  LA  PARTIE  PERDUE 

This  beautiful  plate  won  a medal  at  the  Paris  Salon.  It  is  from  one  of 
Meissonier’s  finest  pictures. 

Height  11,  width  8% 

Remarque  proofs  on  vellum $20 


SMILLIE  (JAMES  D.) 

Member  of  the  National  Academy  of  Design  and  New  York  Etching  Club,  and 
of  the  Royal  Society  of  Painter-Etchers,  London. 

346  “GOOD  NIGHT  AND  SWEET  DREAMS” 

A beautiful  original  dry-point,  representing  a bouquet  of  poppies  and  an  antique 

chamber  candlestick. 

Height  10,  width  7 

Signed  artist’s  proofs  (50  only) $12 

347  A BOUQUET  OF  HOLLYHOCKS 

A fine  study  in  dry-point.  Done  for  the  Smithsonian  Institute,  Washington. 

Height  7,  width  4% 

Signed  artist’s  proofs  (25  only) $6 

348  DOUBLE  HOLLYHOCKS 

This  original  mezzotint  plate  makes  a charming  and  very  original  picture. 
These  three  works  by  Mr.  Smillie  are  worthy  to  take  their  place  in  the  port- 
folio of  the  most  fastidious  collector  either  here  or  in  Europe. 

Height  8*4,  width  5 y2 

Signed  artist’s  proofs $8 


SPINELLI  (RAFAEL) 

349  THE  OLD  LIBRARIAN 

From  the  painting  by  Jiminez.  Particularly  suited  for  hanging  in  a library. 


Height  15,  width  11 

Remarque  proofs  on  vellum $15 

Signed  artist’s  proofs  on  Japan  paper 10 

144 


The  Chess  Players,  by  Spinelli,  see  No.  352 


The  Connoisseur,  by  Boilot 
see  No.  47 


A Gentleman  Reading,  by  Boilot 
see  No.  48 


350  A SPANISH  GIRL 


After  Louis  Leloir. 

Height  7,  width  5 

Eemarque  proofs  on  vellum $3 

351  THE  FIRST  LOVE  TOKEN 

From  the  Paris  Salon. 

From  the  painting  by  Welden  Hawkins,  who  has  etched  the  1 1 remar que.  ’ ’ 

Near  a picturesque  French  farmhouse  an  Italian  minstrel  boy  timidly  presents  a 
simple  bouquet  to  a young  peasant-girl — who  receives  it  as  timidly. 

The  composition  is  full  of  sentiment  and  is  treated  in  a novel  manner. 

Height  16%,  width  22 

Eemarque  proofs  on  vellum,  signed  by  painter 


and  etcher $30 

Signed  artist’s  proofs  on  Japan  paper 18 


352  THE  CHESS  PLAYERS 

A pretty  interior,  from  the  painting  of  Frangois  Flameng. 
Height  8%,  width  10% 

Signed  artist’s  proofs  on  Japan  paper $5 

(See  Illustration) 


STODART  (G.  T.) 

53  LCETITIA 

Engraved  in  stipple,  after  the  painting  by  Eichard  Cosway.  The  painter, 
Eichard  Cosway,  R.A.,  the  immediate  successor  of  Sir  Joshua  Eeynolds  and  the 
contemporary  of  Angelica  Kauffman,  combines  in  his  style  the  force  of  the  one 
and  the  elegance  of  the  other.  His  “Lcetitia”  is  the  portrait  of  the  beautiful 
Miss  Barker.  The  original  picture  is  engraved  by  permission  of  the  present 
owner,  Sir  Eichard  Currie. 

Height  12,  width  9 

Signed  artist’s  proofs  on  India  paper $18 


TEYSSONNIERES  (PIERRE) 

The  paintings  and  etchings  of  M.  Teyssonnieres  have  already  won  for  him  thir- 
teen medals  and  diplomas,  including  a medal  from  the  Paris  Salon  and  a decora- 
tion from  the  King  of  Italy.  He  was  for  several  years  professor  of  fine  arts  at 
Bordeaux,  but  is  now  established  in  Paris. 

354  A MEETING 

After  the  painting  by  Ridgway  Knight.  The  etching,  which  is  one  of  Teysson- 
nieres’ finest,  was  exhibited  at  the  Paris  Salon. 


Height  18,  width  24 

Signed  remarque  proofs  on  vellum $48 

Signed  remarque  proofs  on  Japan  paper 36 

Signed  artist’s  proofs  on  Japan  paper 20 

147 


355  A VOICE  FROM  THE  CLIFF 

After  the  painting  by  Winslow  Homer. 

In  a review  of  this  notable  American  picture  in  The  Century  Magazine,  Mrs. 
Schuyler  van  Rensselaer  writes : ‘ 1 It  seems  to  me  not  only  one  of  the  most  com- 
plete and  beautiful  things  Mr.  Winslow  Homer  has  yet  produced,  but  among 
the  most  interesting  that  American  art  has  yet  created.  The  most  interesting 
thing  about  it  is  its  beauty  of  line.  Three  fisher-girls  have  a sculptural  grace, 
they  are  statuesque  figures— but  they  are  living,  moving,  breathing  beings,  and 
not  statues.  Variety  has  been  secured  in  such  subtle,  reposeful  ways,  that  a 
wonderful  harmony  and  artistic  force  are  the  result.  ’ ’ 

Height  17,  width  25 


Remarque  proofs  on  vellum $45 

Remarque  proofs  on  Japan  paper 30 

Signed  artist’s  proofs 18 


(See  Illustration) 


356  PROCESSION  OF  THE  FLITCH  OF  BACON 

From  the  painting  by  Thomas  Stothard,  R.A.  The  ancient  English  custom  rep- 
resented is  one  of  the  most  interesting  of  those  which  are  kept  in  remembrance 
by  the  whole  Anglo-Saxon  race. 

A flitch  or  side  of  bacon  was  given  annually  to  a young  married  couple  who 
could  prove  (to  a jury  of  six  maidens  and  six  bachelors)  that  during  the  first 
year  and  a day  of  their  married  life  neither  had  said  a cross  word  to  the  other 
— nor  secretly  wished  that  they  were  not  married!  This  old  custom  has  been 
observed,  though  with  some  interruptions,  for  more  than  seven  centuries. 

No  more  significant  or  appropriate  wedding  present  could  be  given;  and  no 
more  suggestive  reminder  of  domestic  peace  could  be  found  to  adorn  a happy 
home. 

N.  B. — A detailed  historical  account  of  the  “ Flitch  of  Bacon”  will  be 
mailed,  free,  on  application  to  the  publishers. 

Height  12%,  width  34 

Remarque  proofs  on  vellum  (with  double  “Re- 


marque”)   $60 

Remarque  proofs  on  Whatman  paper 40 


357  DAUGHTERS  OF  THE  SEA 

From  the  painting  by  Delobbe,  which  was  shown  at  the  Paris  Salon  of  1885. 
The  beautiful  etching  of  it  by  Teyssonnieres  won  high  praise  at  the  Salon. 

Two  handsome  fisher-girls  repose  on  the  sandy  shore,  awaiting  the  return  of 
the  boats.  The  general  effect  of  the  picture  is  tranquil  and  restful. 

Height  13%,  width  20 

Remarque  proofs  on  vellum,  signed  by  both 


painter  and  etcher $60 

Remarque  proofs  on  Japan  paper,  signed  by  both 
painter  and  etcher 36 

Signed  artist’s  proofs  on  Japan  paper 24 

Unsigned  proofs  before  letters 12 

(See  Illustration) 

148 


A Voice  from  the  Cliff,  by  Teyssonni^res,  see  No.  355 


358  LA  CHASSE  AU  FAUCON 

From  the  well-known  painting,  the  1 ‘ Hawking  Party,  ’ ’ by  Fromentin,  in  the 
Louvre,  Paris.  This  superb  etching  has  already  won  three  gold  medals  in 
Europe,  including  one  from  the  Paris  Salon. 

Height  17%,  width  12% 


Remarque  proofs  on  Japan  paper $18 

Signed  artist’s  proofs  on  Japan  paper 12 

Lettered  impressions 6 


359  LE  CALVADOS 

The  gathering  of  mussels  on  Sunday  morning  before  the  early  mass.  Etched 
by  Teyssonnieres  from  his  own  painting.  All  the  principal  figures  (except  one) 
are  from  studies  made  by  the  artist  on  the  spot.  The  old  man  to  the  extreme 
right  is  ‘ ‘ Le  Pere  Legrand.  ” “ La  Mere  Legrand  ” is  at  the  opposite  side,  and 
near  her  is  a girl  who  is  known  among  her  neighbors  as  1 ‘ La  Petite  Coquette.  ’ ’ 
The  principal  figure  in  the  foreground  is  Mademoiselle  Teyssonnieres,  the 
artist’s  daughter. 

This  part  of  Normandy  got  its  Spanish  name  in  the  time  of  Queen  Elizabeth, 
when  the  Calvados,  a vessel  of  the  Armada,  was  wrecked  on  the  coast. 

Height  14,  width  20 


Remarque  proofs  on  vellum $60 

Remarque  proofs  on  Japan  paper 36 

Lettered  impressions 6 


360  A RIVER  NEAR  BORDEAUX 

Height  11%,  width  19% 


Signed  artist’s  proofs  on  vellum $24 

Signed  artist’s  proofs  on  Japan  paper 12 


361  AN  AUTUMN  DAY,  NEAR  BORDEAUX 

Height  10,  width  1 3% 

Signed  artist’s  proofs  on  Japan  paper $5 


THEVENIN  (CHARLES) 

362  THE  SOWER 

From  one  of  Millet’s  most  characteristic  works,  and  beautifully  etched. 


Height  15%,  width  19 

Remarque  proofs  on  vellum $25 

Signed  artist’s  proofs  on  Japan  paper 15 


363  FONTAINEBLEAU 

After  Allonge. 
Height  13,  width  20% 


Remarque  proofs  on  vellum  (30  only) $12 

Remarque  proofs  on  Holland  paper 8 

151 


VAN  ELTEN  (KRUSEMAN) 

This  well-known  landscape  painter— member  of  the  National  Academy  of  De- 
sign, Fellow  of  the  Royal  Society  of  Painter-Etchers,  London,  and  winner  of 
a medal  at  the  Amsterdam  Exposition— was  as  much  admired  for  his  fine 
decorative  etchings  as  for  his  paintings. 

364  A COTTAGE  BY  THE  SEA 

Height  9%,  width  13% 

Signed  artist’s  proofs  on  Whatman  paper $12 

365  HOMEWARD  BOUND 

Height  9%,  width  17% 

Signed  artist’s  proofs  on  Whatman  paper $12 

366  TWILIGHT  ON  THE  HOUSATONIC 

A landscape  executed  by  the  11  soft-ground  ” process. 

Height  13%,  width  21 

Signed  artist’s  proofs  on  Japan  paper $15 

367  THE  DYKE  AT  SLIEDRECHT 

A characteristic  view  in  Holland 
Height  12,  width  19 

Signed  artist’s  proofs  on  Japan  paper $15 


368  WINNOCKIE  CREEK,  NEW  JERSEY 

Height  12,  width  17 % 

Signed  artist’s  proofs  on  Japan  paper $15 

Unsigned  proofs  on  Japan  paper 12 


369  A QUIET  SPOT 

Height  9%,  width  17% 


Signed  artist’s  proofs  on  Japan  paper $12 

Unsigned  proofs 8 


370  A SHADY  PASTURE 

Height  8%,  width  14% 


Signed  artist’s  proofs  on  Japan  paper $10 

Unsigned  proofs 6 


371  IN  THE  MEADOWS 

Height  8%,  width  14% 


Signed  artist’s  proofs  on  Japan  paper $10 

Unsigned  proofs  6 

152 


Newport  Harbor,  by  Callahan,  see  No.  67 


Windmill  in  Holland,  by  Van  Elten,  see  No.  372 


The  King  of  the  Desert,  by  van  Muyden,  see  No.  373  Bengal  Tigers,  by  van  Muyden,  see  No.  374 


372  WINDMILL  IN  HOLLAND 


Height  9,  width  12 

Unsigned  proofs  on  Japan  paper $6 

(See  Illustration) 


VAN  MUYDEN  (EVERT) 

Born  at  Albano,  near  Rome,  and  of  Swiss  parents,  on  July  18,  1853,  he  studied 
drawing  and  painting  first  under  his  father,  afterward  under  Gerome  at  the 
Ecole  des  Beaux  Arts  in  Paris.  In  etching  he  is  entirely  untutored,  never  hav- 
ing had  a master.  From  1879  to  1884  he  lived  in  Italy  and  since  1884  he  has 
spent  most  of  his  time  in  Paris.  He  received  an  honorable  mention  for  his 
etchings  at  the  Salon  of  1887  and  a bronze  medal  at  the  Paris  Universal  exhi- 
bition of  1889. 

“Van  Muyden  has  both  the  mental  and  technical  qualities  necessary  in  the 
production  of  a real  work  of  art,  and  he  has  them  in  a high  degree.  Drawing 
is  the  foundation  of  the  graphic  arts  and  in  this  van  Muyden  is  a master.  His 
draughtsmanship  is  the  quality  which  first  attracts  attention  in  his  works  from 
the  technical  side.  He  has  great  love  for  beauty  of  form,  especially  in  the 
lower  animals,  and  this  it  is  that  gives  much  of  the  charm  to  his  little  sketches 
which,  though  they  depend  mostly  on  outline  drawing,  have  all  the  suggestion 
of  modeling,  as  well  as  in  his  more  finished  plates  in  which  the  modeling  is 
carried  further,  but  always  with  the  love  for  form  and  the  same  ability  to 
express  it. 7 ’—Atherton  Curtis. 

See  “Catalogue  of  the  Etched  Work  of  Evert  van  Muyden,  by  Atherton 
Curtis.  With  a portrait  of  the  artist  and  ten  head  pieces  etched  expressly  for 
the  catalogue  and  one  unpublished  plate.  ’ ’ The  edition  is  limited  to  230  num- 
bered copies,  at  $10. 


373  THE  KING  OF  THE  DESERT 

A great  lion  reposing  on  a crag.  The  margin  of  this  fine  plate  is  surrounded 
with  light  sketches  of  lions  and  other  wild  animals. 

Height  15,  width  12% 

Remarque  proofs  on  vellum $15 

(See  Illustration) 


374  BENGAL  TIGERS 

This  fine  etching  is  a model  of  admirable  drawing.  Two  great  tigers  are  in  the 
foreground  and  in  the  distance  a mysterious  forest  is  seen. 

“Again  we  see  two  great  tigers  outside  a mysterious  tropical  forest.  One 
mounts  guard,  alert  and  fierce,  while  the  other  drinks.  The  composition  and 
drawing  of  this  picture  may  be  called  masterly;  the  gloomy  background  is  full 
of  color,  while  the  drawing  of  the  drinking  tiger  is  simply  wonderful;  the  lithe 
and  powerful  beast  is  actually  alive.” — Frederick  Keppel,  Van  Muyden, 
Painter-Etcher,  p.  11. 

Height  16%,  width  12 % 

Remarque  proofs  on  vellum $15 

(See  Illustration) 


375  LION  ON  A ROCK 


Height  6%,  width  4% 

Signed  artist’s  proofs  on  Holland  paper $4 


157 


376  BULL  OF  THE  ROMAN  CAMPAGNA 

“Van  Muyden’s  fondness  of  animals  is  not  confined  to  the  wild  species,  but 
extends  to  domestic  animals  as  well.  He  has  always  taken  great  interest  in 
the  Roman  ox,  whose  sluggish  nature  he  interprets  with  great  truth.  ...  In 
the  same  class  with  the  Roman  oxen  may  be  placed  the  Roman  bulls,  of  which 
the  best  is  undoubtedly  the  Bull  of  the  Roman  Campagna,  a superb  plate,  full 
of  feeling  for  the  beauty  of  the  animal,  especially  of  the  beautiful  curve  of  its 
graceful  horns,  and  one  of  the  best  examples  of  the  artist’s  masterly  draughts- 
manship. 1 ’—Atherton  Curtis. 

Height  12%,  width  16% 

Signed  artist’s  proofs  on  Holland  paper $10 

377  WHITE  MARE  AND  BLACK  COLT 

Original  lithograph.  Thirty  proofs  only  were  taken  and  the  drawing  was  then 

effaced. 

Height  13%,  width  17% 

Signed  artist’s  proofs $15  t 

378  TIGER  RESTING 

Original  lithograph.  Thirty  proofs  only  were  taken  and  the  drawing  was  then 

effaced. 

Height  12%,  width  16% 

Signed  artist’s  proofs $15 


WALTNER  (CHARLES) 

“L’un  des  grands  graveurs  frangais.  Et  graveur  absolument  particulier,  dont 
le  nom,  marquant  une  etape  dans  la  marche  de  son  art,  signifie  1 ’extreme  limite 
de  la  liberte  dans  les  procedes  d ’execution — en  reaction,  a la  fin  du  XIXe  Siecle, 
contre  la  perte  de  toute  liberte,  infligee  depuis  cent  ans  a la  graveur  par  la 
formule  d’ecole.  ” — Henri  Beraldi,  Les  Graveurs  du  XIXe  Siecle,  Yol.  XTI, 
p.  254. 

379  THE  PHILOSOPHER 

After  the  painting  by  Rembrandt,  in  the  National  Gallery,  London. 
Height  20%,  width  16% 

Signed  artist’s  proofs  on  vellum $60 

(See  Illustration) 

Special  Note.  Messrs.  Frederick  Keppel  & Co.  are  glad  to  announce  that 
they  have  purchased  the  few  remaining  proofs  of  this  famous  etching,  which, 
by  general  consent,  is  accounted  one  of  Mr.  Waltner’s  masterpieces.  The  num- 
ber of  proofs,  remaining  unsold,  being  small,  the  right  to  advance  the  price  at 
any  time  is  reserved. 


WASHBURN  (CADWALLADER) 

380  COURT  OF  THE  DOGE’S  PALACE 

Height  9%,  width  6% 

Signed  artist’s  proofs  on  Japan  paper $15 

The  plate  is  destroyed. 

158 


The  Philosopher,  by  Waltner,  see  No.  379 


381  GRAND  CANAL,  VENICE 


Height  6%,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $12 

The  plate  is  destroyed. 

382  CASA  D’ORO,  VENICE 

Height  6 %,  width  9% 

Signed  artist’s  proofs  on  Japan  paper $12 

The  plate  is  destroyed. 


WENBAN  (S.  L.) 

Born  in  Cleveland,  Ohio.  Studied  in  Munich. 

383  A BAVARIAN  FOREST 

This  large  and  bold  etching  is  highly  recommended.  It  is  done  in  the  broad  and 
strong  style  of  Sir  Seymour  Haden,  and  won  high  praise  at  the  Paris  Salon. 

Height  20%,  width  I614 


Remarque  proofs  on  Japan  paper $15.00 

Unsigned  proofs 7.50 


WHISTLER  (JAMES  A.  McNEILL) 

“With  the  master-etchers  of  the  world— Meryon’s  equal  in  some  respects, 
and,  in  some  respects,  Rembrandt ’s— there  stands  James  Whistler.  Connois- 
seurs in  France  and  England,  in  America,  Holland,  Bavaria,  concede  this  now.  ’ ’ 
—Frederick  Wedmore,  Fine  Prints , p.  107. 

“All  his  work  is  alike  perfect.  It  has  only  been  produced  under  different 
circumstances,  and  is  an  attempt  to  render  different  effects  or  situations. 
Therefore  the  methods  vary,  but  the  results  are  always  the  same — great.  The 
greatest,  the  most  perfect,  as  a whole,  that  any  etcher  has  ever  accomplished.  ’ 7 
—Joseph  Pennell,  Whistler  as  an  Etcher. 

Note.  Special  attention  is  invited  to  our  large  collection  of  Whistler ’s  etch- 
ings. A detailed  list  of  titles  and  of  prices  will  be  found  in  The  Print  Col- 
lector’s Bulletin,  which  will  be  mailed,  free,  on  request.  (See  page  3.) 


WICKENDEN  (ROBERT  J.) 

384  LA  MERE  PANNE^AYE 

Height  7%,  width  7 

Signed  artist’s  proofs  on  Japan  paper $6 

This  beautiful  lithograph  of  a French  peasant  woman,  89  years  old,  is  the  work 
of  one  of  the  best  of  our  younger  American  painters.  Mr.  Wickenden  has  al- 

161 


ready  done  admirable  work  as  painter,  aquarellist,  etcher  and  lithographer,  and 
also  as  an  author  in  prose  and  verse. 

“La  place  me  manque  pour  citer  aussi  de  magnifiques  pieces  etrangeres 
signees:  Goya,  Alma-Tadema,  Sargent,  mais  je  signalerai  specialement  de 
veritables  chefs-d  ’oeuvres  de  M.  Wickenden.  Une  Vue  de  Notre  Dame  la  nuit 
et  La  Mere  Pannegaye—\me  tete  de  vieille  femme. ’’—Philippe  Gilles,  in  his 
‘ ‘ Vue  d ’Ensemble  ’ ’ of  the  Exposition  Internationale  du  Centenaire  de  la  Litho- 
graphic at  Paris,  1895. 


ZILCKEN  (PHILIP) 

385  REMBRANDT  IN  MILITARY  DRESS 

The  famous  original  by  Rembrandt  in  the  gallery  of  The  Hague  is  here,  for  the 
first  time,  represented  in  a satisfactory  manner.  The  etching  is  bold,  strong  and 
decorative. 

Height  18  %,  width  14 

Signed  remarque  proofs  on  Holland  paper $20 


386  PORTRAIT  OF  JOHN.  LOTHROP  MOTLEY 

This  portrait  was  painted  by  Bischopp  in  1872  for  the  late  Queen  of  Holland, 
at  the  time  when  Motley  was  her  guest  in  the  “House  in  the  Wood”  at  The 
Hague — where  the  picture  still  hangs. 

Height  19,  width  12 

Signed  artist’s  proofs  on  Japan  paper $24 


ZORN  (ANDERS  L.) 

Born  at  Mora,  Sweden,  in  1860. 

“Near  the  extreme  end  of  the  range  of  art  in  one  direction— at  the  opposite  pole 
to  the  subtile  delicacies  of  a Whistler — I should  put  Mr.  Zorn’s  bold,  spirited, 
swiftly  executed,  yet  completely  satisfying  works.  . . . Mr.  Zorn ’s  work  attracts 
us  in  the  sense  that,  while  seemingly  hasty  and  almost  illogical,  it  proves  itself 
magnificently  adequate,  and  therefore  skilful  and  artful  in  the  highest  sense.  ’ ’— 
Mrs.  Schuyler  van  Rensselaer,  A Swedish  Etcher  ( Century  Magazine, 
August,  1893). 

“But  it  is  in  his  etchings  that  the  art  of  Anders  Zorn  is  seen  in  its  highest 
vigor,  creativeness  and  sureness  of  hand,  whether  these  etchings  be  done  directly 
from  nature,  or  are  transcriptions  of  his  masterly  paintings.  Lines  apparently 
scribbled  at  random  and  which  might  seem  to  harshly  gash  the  copper  plate, 
result  in  a whole  which  is  strong,  clear  and  vivid,  and  the  etchings  present 
pictures  expressing  the  most  delicate  and  fleeting  phases  of  expression  and 
gesture.  This  extreme  refinement,  although  couched  in  a disguise  of  affected 
roughness,  cannot  be  described  in  words.  Let  us  only  say  that  these  etchings— 
paradoxical  in  their  coarseness  of  means  and  fineness  of  effect — manifest  the 
master  at  his  best. ’’—Henri  Marcel. 

Note.  We  are  glad  to  announce  that  this  distinguished  artist  appointed  us, 
in  1893,  the  exclusive  publishers  of  his  etchings  for  the  United  States.  Our 
present  stock  includes  impressions  of  all  his  available  etchings.  A detailed  list 
of  titles  and  of  prices  will  be  found  in  The  Print  Collector ’s  Bulletin,  which  will 
be  mailed,  free,  on  request.  (See  page  3.) 


162 


BOOKS  ON 

ETCHINGS  AND  ENGRAVINGS 


N.  B.  — Any  of  these  books  will  be  sent,  postpaid,  on  receipt  of  price. 


THE  KEPPEL  BOOKLETS 

The  First  and  Second  Series  of  The  Keppel  Booklets  are  now  ready.  Each 
series  consists  of  five  Booklets,  described  below,  inclosed  in  a special  slide  case, 
and  will  be  sent,  postpaid,  to  any  address,  on  receipt  of  twenty-five  cents  in 
stamps. 

These  Booklets  measure  5%  x 3 y2  inches.  They  are  printed  by  the  De  Yinne 
Press,  New  York.  Separate  Booklets  can  be  had  at  5 cents  each,  postpaid. 


FIRST  SERIES 


CONCERNING  THE  ETCHINGS 
OF  MR.  WHISTLER 

CONTENTS 

Propositions  by  Mr.  Whistler.  Re- 
printed from  his  book,  ‘ ‘ The  Gentle 
Art  of  Making  Enemies.  ’ ’ 

Mr.  Whistler’s  Etchings.  Reprinted 
from  The  Daily  Chronicle  (Lon- 
don), February  22,  1895.  By  Joseph 
Pennell. 

Whistler ’s  Thames  Etchings.  Re- 
printed from  the  Bulletin  de  l’ Art 
Ancien  et  Moderne,  Paris,  Decem- 
ber, 1903.  By  Monsieur  F.  Cour- 
boin. 

Sixth  edition,  69  pages,  26  illustrations 

SIR  SEYMOUR  HADEN, 
Painter-Etcher 

By  Frederick  Keppel 
Being  a condensation  of  the  lecture 
prepared  for  and  delivered  before  the 
Grolier  Club,  and  afterward  repeated 
at  the  Metropolitan  Museum  of  Art, 
Yale  University,  etc. 

Third  edition,  24  pages,  5 illustrations 


JEAN-FRANCOIS  MILLET, 
Painter-Etcher 

By  Mrs.  Schuyler  van  Rensselaer 

Reprinted,  by  permission,  from  The 
Independent.  To  which  is  appended  a 
sketch  of  the  ‘ 1 Life  of  Millet  ’ ’ by 
Frederick  Keppel. 

Third  edition,  43  pages,  11  illustrations 


JOSEPH  PENNELL, 

Etcher,  Illustrator,  Author 

By  Frederick  Keppel 
Reprinted,  by  permission,  from  The 
Outlook  of  September  23,  1905. 

First  edition,  64  pages,  16  illustrations 


DRY-POINTS  BY  PAUL  HELLEU 

By  Frederick  Wedmore 

Reprinted  from  Etching  in  England, 
London,  1895.  Introduction  by  the 
late  Edmond  de  Goncourt. 

Sixth  edition,  17  pages,  4 illustrations 
(1  in  colors) 


163 


SECOND 

AUGUSTE  RAFFET 

By  Atherton  Curtis 

This  review  of  Raffet ’s  works  has 
been  revised  and  abridged  by  the  au- 
thor from  his  chapter  on  Raffet  in 
1 ‘ Some  Masters  of  Lithography. ’ ’ 
First  edition,  40  pages,  14  illustrations 


THE  LATE  FELIX  BUHOT 
Painter-Etcher 

By  M.  L£once  Bdh6dite, 
Curator  of  the 
Luxembourg  Gallery,  Paris 
Reprinted,  by  permission,  from  La 
Revue  de  l’ Art  Ancien  et  Moderne, 
Paris. 

Written  on  the  occasion  of  the  pub- 
lic exhibition  of  Felix  Buhot ’s  works 
at  the  National  Museum  of  the  Lux- 

THIRD 

Of  the  Third  Series 

THE  ETCHINGS  OF  PIRANESI 

By  Russell  Sturgis 

Third  edition,  54  pages,  19  illustrations 


MR.  PENNELL’S 
ETCHINGS  OF  LONDON 

By  Walter  Conrad  Arensberg 

Reprinted,  by  permission,  from  The 
Evening  Post  of  March  1,  1906,  to 
which  is  added  MR.  PENNELL  AS  A 
PRINTER,  by  Frederick  Keppel,  writ- 
ten on  the  occasion  of  an  exhibition  of 
Mr.  Pennell’s  etchings  of  London. 
First  edition,  43  pages,  14  illustrations 


SERIES 

embourg,  and  translated  from  the 
French  by  Madame  Felix  Buhot. 

First  edition,  37  pages,  11  illustrations 

ONE  DAY  WITH  WHISTLER 

By  Frederick  Keppel 
Reprinted,  by  permission,  from  The 
Reader  of  January,  1904. 

First  edition,  23  pages,  with  facsimile 
(in  reduced  size)  of  an  autograph 
letter  from  Whistler  to  Mr.  Keppel 

MR.  PENNELL’S  ETCHINGS  OF 
NEW  YORK  “SKY  SCRAPERS” 

By  Frederick  Keppel 
Second  edition,  24  pages,  9 illustrations 

CHARLES  MERYON, 

A Biographical  Sketch 

By  Frederick  Keppel 

Second  edition,  37  pages,  13  illustrations 

SERIES 

there  have  been  issued 

HOW  PRINTS  ARE  MADE 

By  Atherton  Curtis 
A description  of  the  various  pro- 
cesses employed  in  the  making  of 
Prints — Engraving,  Etching,  Aqua- 
tint, Dry-point,  Mezzotint— together 
with  Notes  on  Printing,  and  a chapter 
on  Technical  Terms. 

Sedond  edition,  28  pages 

Note.  This  Booklet,  being  of  un- 
usual interest  and  importance  to  Col- 
lectors and  to  all  lovers  of  fine  prints, 
is  also  issued  as  a separate  Pamphlet : 
size  7%  x 5 inches,  22  pages — price 
10  cents. 


AMERICAN  ETCHERS 

By  Mrs.  Schuyler  van  Rensselaer 

Reprinted,  by  permission,  from  The  Century  Magazine,  with  the  16  original 
illustrations. 

To  this  is  added  Frederick  Keppel ’s  article  on  the  life  and  etched  work  of 
Charles  Meryon. 

Mrs.  van  Rensselaer’s  pamphlet  is  specially  recommended  as  giving  a clear 
and  concise  view  of  the  art  of  etching. 

31  pages,  11%  x 7%,  16  illustrations,  20  cents 


164 


THE  BEST  PORTRAITS  IN  ENGRAVING 

By  the  Hon.  Charles  Sumner 

The  greater  part  of  this  article  appeared  in  a New  York  magazine  in  January, 

1872. 

The  completion,  as  now  issued,  was  given  to  the  publisher,  in  manuscript,  by 
Mr.  Sumner  shortly  before  his  death. 

He  gave  his  hearty  approval  to  its  publication  in  complete  form,  and  ex- 
pressed the  hope  that  it  would  call  the  attention  of  many  persons  of  artistic 
taste  to  the  study  of  those  early  masterpieces  of  the  engraver’s  art,  the  collec- 
tion and  possession  of  which  afforded  himself  so  much  pleasure  and  instruction. 

Fifth  edition,  31  pages,  11%  x 8,  13  illustrations,  25  cents 

THE  GOLDEN  AGE  OF  ENGRAVING 

By  Frederick  Keppel 

Reprinted,  by  permission,  from  Harper’s  Magazine. 

‘ 1 To  those  who  wish  to  gather,  in  a few  minutes  ’ reading,  a fair,  clear,  and 
not  inadequate  conception  of  the  Art  of  Engraving  and  its  Great  Masters,  the 
perusal  of  Mr.  Frederick  Keppel ’s  article  on  the  subject  will  prove  very  satis- 
factory. Although  the  spirit  of  condensation  rules  in  every  line,  it  is  surprising 
how  little  of  the  pith  and  essence  of  the  theme  are  omitted.  The  paper  is  re- 
markably clear  and  compendious,  and  is  admirably  written.” — Stephen  Eng- 
lish. 

1 1 Combines  rare  artistic  excellence  with  a high  degree  of  literary  merit.  ’ 
New  YorTc  Tribune. 

Fourth  edition,  16  pages,  11  x 8,  13  illustrations,  15  cents 


LITHOGRAPHY 

By  Atherton  Curtis 

Reprinted,  by  permission,  from  ‘ ‘ Some  Masters  of  Lithography.  ’ ’ 
Second  edition,  12  pages,  6x4% 

This  Pamphlet  will  be  mailed,  free,  on  application  to  the  publishers. 


HOW  PRINTS  ARE  MADE 

By  Atherton  Curtis 

A description  of  the  various  processes  employed  in  the  making  of  Prints — En- 
graving, Etching,  Aquatint,  Dry-point,  Mezzotint— together  with  Notes  on 
Printing,  and  a chapter  on  Technical  Terms. 

Second  edition,  19  pages,  7%  x 4%,  10  cents 

Note.  This  Pamphlet  can  also  be  had  as  Number  Three  of  The  Third  Series 
of  The  Keppel  Booklets. 


CATALOGUE  OF  THE  ETCHED  WORK  OF  EVERT  VAN  MUYDEN 

By  Atherton  Curtis 

With  a portrait  of  the  artist  and  ten  head  pieces  etched  expressly  for  the  cata- 
logue and  one  unpublished  plate  ( Lion  and  Lioness).  The  edition  is  limited  to 
230  numbered  copies  and  is  printed  by  the  De  Vinne  Press. 

Size  10  x 7 inches,  158  pages,  cloth,  paper  label,  $10 
165 


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